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Relaxer – Exhibited @ 'It's not just Black or White', The Walter House, York, Jan 2020.

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Moving Through Memory - INSTALLATION VIDEOS SIDE BY SIDE.

Moving Through Memory – INSTALLATION VIDEOS SIDE BY SIDE.

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Digital Print - wall based collage - photograph - digital print - video

Digital Print – wall based collage – photograph – digital print – video

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Memories Fade Installation Video

Memories Fade Installation Video

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Fly-Posting onto Perspex Found in Thornton Heath.

Fly-Posting onto Perspex Found in Thornton Heath.

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Raushenberg Inspired Digital Print Collages.

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Documenting the audio experience of Welsely Road, Croydon.

Documenting the audio experience of Welsely Road, Croydon.

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Walking Croydon Town Centre with my Mother.

Walking Croydon Town Centre with my Mother.

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Croydon Town Centre Walk

Croydon Town Centre Walk

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Tagging

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Constructions

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Vigilia,

Aguatinta  y Aguafuerte, 22 x 33 cm

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March 2018: Using Historical Photographs as a Starting Point

March 2018: Using Historical Photographs as a Starting Point

Photographs from the James Gray Collection I am interested in using my practice to create a physical archive of everyday life, in particular typically working class situations, which in Brighton (which has long been gentrified) are hard to come by. I am interested in finding the spaces documented by Gray and others who are included in the collection and documenting the physical and psycho…

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Cheap refurbishments that clad the deteriorating bulk in advertising hoardings or plastic panels… The odd combination of people, languages, noise, smells, bustle, subways, traffic and 1960s architecture is almost Blade Runner-esque.’ – Post War Buildings.com

I am aiming to document the psycho-geographical experience presented by the Elephant and Castle Shopping Centre, South London) in order to create a site specific print based, mixed media installation.

I was focused on documenting the whole visual and emotional experience of the shopping centre, which is soon to be demolished. I think it is important to use my practice as a way to create works that could potentially be viewed as historical objects in the future. I want contemporary working class culture being included in the wider history of our time, before it is whitewashed, gentrified and sterilised from the influx of middle classes yuppies.

Photographic Documentation of Elephant and Castle Shopping Centre: Cheap refurbishments that clad the deteriorating bulk in advertising hoardings or plastic panels... The odd combination of people, languages, noise, smells, bustle, subways, traffic and 1960s architecture is almost Blade Runner-esque.' - …

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An ‘attempt to offer up a slice of real life from some apparently insignificant corner of existence’ (Memory, Encounters with the strange and the familiar – John Scanlan)

Main intentions / Concepts 

I aim to use my practice to provide a contemporary update to Guy Debord’s exploration of the psycho-geography and apply it to 2018 London, which is in a state of continual demolition, construction and subsequent gentrification.

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My current project is focused on exploring the philosophical debates around aesthetics and the function of art in contemporary society. I aim to test theories proposed, through the creation of physical art works.  I aim to use my practice to explore the potentials and test the limits of how art works can engage and interact with wider society. I am also examining if it is possible to use fine art to protest, raise awareness and alter perceptions of issues and also the limitations of art in relation to this, as it is typically seen as the passive option, especially in comparison to direct action. At this point in the project I set out to test the extent to which artworks are useful for the purpose of documenting and preserving a moment in history and also the limitations for artworks to be used as a method of protest. I find myself continually returning to the theme of class in my work, in particular the push – pull relationship between high culture and low culture and am especially fascinated by the contemporary fetishization of working class.

https://www.theguardian.com/commentisfree/2014/oct/28/-sp-lad-luxe-the-fetishisation-of-the-working-class-in-fashion-is-the-height-of-snobbery

At this initial stage in the project, I assume that in order for my work to provide an effective protest I need to directly address  predominantly white middle class gallery viewer (who are often wilfully ignorant of the social issues). I aim to document and capture the visual and emotional experience what is considered low culture using ‘changes in the scale of perspective’… in an ‘attempt to zoom in or out of some part of the past’ (Memory, Encounters with the strange and the familiar – John Scanlan)  

Subject Matter

 ‘Forgotten waterfronts, underutilised manufacturing areas, down-trodden intercity neighbourhoods became revalued for their intrinsic pastness’ (Memory, Encounters with the strange and the familiar – John Scanlan)

My work is an examination of memory outliving physical space. I aim to capture and document temporary experiences (both visual and emotional) in order to preserve and re-present them  in a white walled gallery setting. I am not interested in presenting a nostalgic rose tinted view, but instead aim to present and expose the viewer to the harsh truths and realities.

‘The photograph often captures configurations of the real through chance or by accident’

Appropriated historical images of London are an obvious starting point, as I can document the space in 2018 while also having a past historical reference. I am also interested in revisiting areas in Croydon and Camberwell that I previously photographed a few years ago to see how psychogeographical experience has changed.

My current work aims to engage the viewer through shock factor. Forcing the viewer to question why I, as an artist, have chosen to focus on these seemingly gritty places and non- places as my subject matter. My subject matter aims to make the typical gallery viewer feel uncomfortable, revolving around non-places (that are not typically destinations, or habitated) that the middle classes would be scared to walk at night. The focus of my subject matter is both the objects found within the space as well as commercial print and graffiti tags.

Materials / Method of Display –

I aim to move away from creating temporary installations and create works with more permanence in order to increase the potential for working class issues to be included in the official line of history.

Due to the successes of the last project I aim to continue using a mixture of two dimensional and three dimensional aspects to create individual fragmented prints attached together using crude / makeshift construction processes.

I will also continue creating works without a geometrical frame as this was successful in creating expressive works and I will help me capture the feeling of the space and bring the viewer away from the experience of the gallery.

I will continue using layering and collage as a method of composition generation and also to re assemble the information I will be documenting in situe.

    Temporary Installation ‘Construction’ No1 – Exhibited January 2018

I aim to continue using found materials to print on, create relief prints with and also include as ready made in three dimensional installation. I spontaneously react to specific physical and aesthetic qualities of the found objects and let them dictate the materials and processes used. I anticipate that I will need to learn many new innovative printing and image transfer techniques in order to produce works from my objects

    Artist Statement February 2018 – ‘ No past belongs to any individual alone.’ An 'attempt to offer up a slice of real life from some apparently insignificant corner of existence' (

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  Through Constructions, I aim to use installation of my printed works to put forward a reflective viewpoint on contemporary social issues including homelessness, gentrification and the housing crisis, to display an assemblage of varied perspectives.

The Constructions are composed of (traditionally wall based) monotype and relief print images.

They are installed unconventionally on found materials (glass, wood, paper, cardboard and fabric) using flyposting techniques. I will also extend my exploration into materiality in my Constructions by including cardboard and other low cost, ‘real life’ materials that have rich metaphorical language with homelessness and the very real, everyday struggles individuals are facing due to the housing crisis.

The constructions consist of individual pre-printed fragments, prepared through a combination of traditional and digital print processes. I will use construction processes in a fine art context, both to add visual information (to create plates for relief printing), remove visual information (create opaque layers obscuring and therefore making the images more ambiguous). I will also experiment with materials of varying transparencies, such as glass and plastic – to contrast the opaque nature of concrete, wood and other building materials and also increase the number of potential images I can include through layering.

I am inspired by Rauschenberg’s idea of artist created ‘situations’[1] in a gallery setting to artificially impose a physical experience on potential viewers. Specifically Rauschenberg’s Combine – Minutiae, due to his use of construction processes to expand traditionally wall based works into the third dimension.

I will be working within the confines of a 2.5m squared of wall space, as well as 2m squared of floor space in front of it. I will also be constructing the piece in the gallery environment in under 12 hours, using building and flyposting processes such as hammers, nails, electric screwdriver, hinges, and screws to attach the fragments together and to the gallery wall.

  The specific shape and structure of my Constructions is spontaneous. I am responding directly to the visual combination in front of me at that particular time, rather than following a set plan or composition sketch. However I do aim for the fragments to create an overall impression of city scape when displayed in unison. The work will exist only as fragments, until being instinctively assembled and exhibited in a space in a unique composition every time, and will return to fragments after takedown. This process will lead to an outcome with no defined edges, evoking the haphazard nature of the housing crisis and the instability this provides in people’s lives. I aim for the Constructions to have a crude, unfinished and makeshift anti-aesthetic. The Constructions make use of fragmented text and images, coupled with a multi-layered composition and wide variety of scales. Through this, I aim to present the individuals psycho-geographical experiences of architecture and city structure. To bring the work further away from the wall and into the space, I will be using a piece of wood and a bracket (Around 2.5m high), to drape printed fabric over so that it touches the floor at either end.

I will also be displaying some of the fragments, such as found glass windows by leaning them at an angle against the wall.

The fragments comment on, and appropriate imagery and text published by the mainstream media, found historical photographs of UK city life and my original photographs. I am using my practice to address and document the temporary, ever changing nature of the London city-scape, which is in a continuous cycle of demolition, construction and subsequent gentrification and explore the psycho-geographical impact this has on individual Londoners. I am part of ‘generation rent’ and as young emerging artist, practicing within this context, I feel compelled to highlight issues using and also provide an alternative narrative and potential surrounding often dismissed working class issues. I am especially interested in people’s individual personal experiences of these issues which are often anti-establishment and therefore may not feature in the official histories in our contemporary age of ‘alternative facts’.

The Constructions will be fully documented using both photography and film. I will also be creating limited edition artist books featuring prints contained in the larger work, these books will be on sale from January 2017 with all profits going to the charity Shelter. The Constructions will also be available for free digital download, as I want to follow in the contemporary tradition of by-passing galleries and going straight to the viewer, via the internet.

  Through Constructions, I aim to use installation of my printed works to put forward a reflective viewpoint on contemporary social issues including homelessness, gentrification and the housing crisis, to display an assemblage of varied perspectives. The Constructions are composed of (traditionally wall based) monotype and relief print images. They are installed unconventionally on found materials (glass, wood, paper, cardboard and fabric) using flyposting techniques. I will also extend my exploration into materiality in my Constructions by including cardboard and other low cost, ‘real life’ materials that have rich metaphorical language with homelessness and the very real, everyday struggles individuals are facing due to the housing crisis. Through Constructions, I aim to use installation of my printed works to put forward a reflective viewpoint on contemporary social issues including homelessness, gentrification and the housing crisis, to display an assemblage of varied perspectives.

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Inform and Promote Specific Exhibition Piece

I am a socially conscious artist using recycled and found materials to create politically charged print based mixed media works. My main artistic concern is to create physical pieces of artwork that document contemporary social issues – specifically those that surround the UK’s working classes in order to attempt to give the issues a better chance of inclusion in the official line of history. I…