I have many interests, it’s rarely the final image that interests me, it’s the technique. I prefer to see the irregularities of slight changes in pressure or inconsistencies in ink application, along with the medium used to cut or carve. I am exploring the image capture of smoke and flame by sudden extinguishment as inspired by John Cage.
Things some of us choose to ignore, and complain about, but we so desperately need to look after. I recorded the sounds of bees and insects. I then transferred and translated the sound into similar physical shapes resembling the soundwaves.
Using found oak and chain, applying a depiction of insect sound waves in copper. I used copper as oxidisation by the weather is minimal.
My intention is to explore the ethereal nature of the elements. Drizzle captured on paper. This has been the most unsuccessful art experiment ever. Ever since I decided to record rain, Colchester has been drier than the Sahara.
However, these are my favorite results; I discovered how freeing the relinquishment of authority is which led me to investigate the complexities of chance and my own idiosyncratic undertaking of art.
Louise Bourgeois exhibition. So much to experience. The subversive nature of her work, implementing the stitch, the strength, and the power of females within the metal, fabric, and stone structures. In truth, I am drawn to protrusion, the question, the form, shadow, and texture. It’s about the stretch of the medium, how far can you push it?
Hadrian’s Wall, Roman Gateway (2022). I did not actually know about this installation. I came across it whilst visiting the Borders. Surprised by the colour and impressed with the view it allowed.
Further experimentation, mark making by scratching, drilling, and cutting without damaging the rest of the face, I could explore various household chemicals and organic material to patina or corrode copper which would release the most vibrant colours.
Heating glass stringers; used in fusing, to manipulate the glass to then accommodate the holes previously made.
