I am interested in making work which makes use of the particular nature of its context, whether that is within the physical location of a landscape, or the material and cultural conditions of the foundry or gallery. I aspire to make objects which do not
Since returning from living in Rome in 2005 I have becoming increasingly interested in negotiating ideas of influence, particularly in national, cultural and geographical terms. A year spent living abroad had led me to question what ‘Englishness’ and ‘authentic’ might mean in such a plural,
'Bronze Length' involves a sense of locational specificity, though of a cultural rather than geographical nature. It is a limited edition, but rather than being composed of a number of identically-cast shapes, its edition is its total length of 25 feet, which can be subdivided
'Bronze Ground' is variable in its dimensions, and is distributed by being brushed over the area of floor, which it exclusively occupies. Its surface therefore bears the marks of its making, although, like the sands of a beach, its surface appearance is temporary. At the
I made 'Right Arm Cast in Sand' on a beach close to my parents’ house. Its form was dictated by the shape of my arm as I drew it out of the hole in the sand, and of the nature of the sand itself, which
This drawing and two others were included in States of Flux at Trinity Contemporary, New York, 1st-11th March 2011. Drawing after 'High Plains Drifter', photographed by Mikael Jansson, British Vogue, July 2003 From the series 'Studies in a Second Hand' Pencil and graphite on Fabriano 4 paper 33x48cm 2009-2011
This drawing and two others were included in States of Flux at Trinity Contemporary, New York, 1st-11th March 2011. Drawing after 'High Plains Drifter', photographed by Mikael Jansson, British Vogue, July 2003 From the series 'Studies in a Second Hand' Pencil and graphite on Fabriano 4 paper 33x48cm 2009-2011
In 2006 I completed my residency at Headington School in Oxford, where as well as teaching I continued my own research into the problem of seeing and believing, and the mechanics of representation. I noticed that a silhouette of a figure could be read as
I completed my MPhil at The Royal College of Art, London, in the summer of 2004. My thesis, Cloud: A Schematic of Appearance, examined cloud as a case study for seeing and believing. I analyzed the relationship between the imagination and visual experience, the use
In September 2004 I moved to Italy to take up the Sainsbury Scholarship in Painting and Sculpture at The British School at Rome. During my MPhil I had also developed a digital archive of images taken from various sources which served to both inform and
What kind of critical framework can be set up to make sense of the intuitive aspect of making drawings? Can the ‘intuitive’ be scrutinised, while allowing drawings to maintain their own visual independence? How might this investigation relate to other disciplines that produce work by
This postcard is constructed from two collaged postcards. On the front is a photograph by Jean Meziere from his 1985 series Echoes: A Vision of the American Southwest, and the text on the back and front is from a 1960s card describing a Kiva- a
