Artist Statement(s)

Art-speak

I respond to philosophical questions by translating my thoughts and experiences into collage and through drawing experimentally in the expanded field. Using current scientific research, I am especially interested in how drawing can be used to positively affect physical and social change in relation to environmental ethics and the natural world, exploring ways in which drawn ‘line’ can directly support wildlife and challenge audiences to reflect on their own relationship to the Earth.

 

I draw from observation before expanding upon these traditional drawing processes by taking them off the page and into other artforms, such as sculpture, installation and community participation. Layers and connections are important in my practice; the intellectual, sensual and material often sits in relation to the concepts, subjects, media and contexts.

 

I also champion access and inclusivity within the arts through various means as part of my overall practice; for example promoting community participation within the projects I deliver – most notably an experimental artist-led research journal, The Critical Fish. 

Plain English

I’m really interested in ‘the big questions’ in life and how I can turn my thoughts about them into art. My process usually begins with drawing things from observation, and seeing how they can grow into other artforms.

I tend to draw more than anything, but for me, drawing is more than 2D pencils on paper. I’m interested in exploring how I can draw ‘off the page’… so, if drawing were sculpture, as audio-visual, as participation or as something else… what would that be like?

Connections are important to me and how the intellectual, sensual and material link with the concepts, subjects and contexts I’m inspired by – I like layering all these things up in my practice.

At the moment, I’m really fascinated in thinking around if – and how – drawing can be used to have a positive impact on the way we treat the planet and each other. How can we use ‘line’ in a way that directly enhances or supports the real-world environment? Or influence how people interact with the Earth?

 

Another thing that is important to me, is that art – making art, experiencing art, thinking about art – is inclusive and accessible. This focus on inclusivity spans my entire creative practice, including the things that are an extension of my practice, like my day job in healthcare, or The Critical Fish.

The Critical Fish is an artist-led project that promotes critical but accessible art-writing. Originally co-founder, I am now co-Editor in Chief and Accessibility Officer. As well as the usual stuff that comes along with producing a research-led, creative print/online magazine, I tend to produce the participatory projects and initiatives.

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar. The Big Oxmox advised her not to do so, because there were thousands of bad Commas, wild Question Marks and devious Semikoli.

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.