Whilst studying art in I moved from a painting department to a sculpture department. I had become interested in high-minimalist artists such as Eva Hesse and Robert Smithson, and as the connections between my form and content developed, a more texturally enhanced, tactile surface seemed appropriate.
My works retained the wall based projection of a canvas, but from that point on my main medium became air-drying clay, which I found was characterized by an ability to capture the spontaneity of a gesture without it being absorbed or rounded off by process. My desire was to leave the work feeling malleable, as if their form was in transition. This connection to the immediacy of presence is also explored in my monoprints, which pick up incidental echoes of studio detritus as their subject matter.
The overall effect of incorporating unused remnants of previous pieces, and forming works from off-cuts or left over materials, is to develop the sense of a loop, a process through which things are conceived, cultivated, and eventually broken down through entropy or being reformed into another piece. Within these transitions I try to describe meaning dropping in and out of the works frame, causally aligned by coincidence and timing, as well as by design.
I am interested in the way post-minimalist artists tried to extend their works potential by building bridges beyond the movements refined sensibilities. I hint at allegory or context to imply the presence of my forms in the world. For example, in ‘Rotation (Ear Plugs)’ 2013, I am cultivating minimalist associations with sleep, and the edges of wakefulness. The implication of a loop, the churned up surface, and the use of foam earplugs develop the pieces connection to minimalist rhetoric. The buying of earplugs to maintain an ideal of silence and extend the detachment of sleep or to shield the incidental, as well as their own refined form, further characterizes my interest in found and made forms.
Opening, 2012, 15 x 20 x 2.5cm, Clay, Acrylic Paint, 1p coins, Nails