Sculpt: The Art Bomb Factory, London 2018
Cross studies 2018
The Myth of the Minotaur – group show exhibition
Barco De Avila’s Carcel Space, Spain Summer 2018
Plasticine and ceramic works 2018
Works on paper 2018
Tate Modern Feb 2018; Pearl Home Records present The Booth of Truth.
Visitors to the programme joined us to make cut up poetry and record it to vinyl. The following images are made from the texts which were left over.
The first compostition is from the text of Gullivers travels by Jonathon Swift. The white and black text is like the boat which is sinking (due to cut out parts). Other texts By Ursla K. Le Guin and Lewis Carrol also refer to in water situations. The texts I had chosen were related to travelling and dreaming. I realised (when documenting) I had often chosen language about travelling by sea; and the dreaming text also had underwater connections.
This is the first series of outcomes (by the Artist, AKA Me!) from The Tate Exchange Programme. It reflects one persons negative is another persons positive and the absence of text will let the ocean in!
The work made by participants is for evaluation and personal use only. We share practise methods, techniques, conversation and structure; this is the point of engagement. The outcome for both Artist and participant is knowledge and reflection, it is a two way street in this sense; both parties bring something to the table which can be applied to future art making or life in general.
These works were made at the Mothership Residency in Dorset, August 2017
Interview for AN magazine by Lydia Ashman
Self Portrait with Extra Sprinkles
The Mother Pack and Captured Crocodile
Holding up The World
Horses with Interconnected Sticks
Horses and Pyramid
Drawings shown at 5th Ecology, WUHO, Woodbury University, Los Angeles, September 2017
Death by Car
Ice Cream Mother
Death by Car -Free Condoms
In the drawing Ice Cream Women the mother is duplicated by three and acts out the instinctive nature of the pack taking watch over the ice cream van, protecting the food source from other predators. In this drawing and in Death by Car individuals are intrinsically linked, family members/cloned mothers act on the same principles. In Death by Car the mothers put their heads into the car as if gassing themselves at the cooker in the ultimate act of domestic trapping.
These vehicles represent the trappings of domesticity in neat packages. The absurdity of the ice cream van with its music and niche products and the family car, carrying the family to a holiday destination. Travelling to resorts in the UK by car was a 1970’s summer stalwart, it represented a new convenient freedom. I always associate the feeling of boredom with sitting in the back of the car seemingly endlessly whilst moving towards an organised escape from normality.
I and millions of others willingly except the trappings of domesticity, we also attach ourselves to the wild by travelling there in the car. Hopefully when we get there an ice cream van will be parked up reminding us we are never far from home.
Works on paper 2017
Generic Death Mask for The Headless Woman
Children and War
Father’s Legs and Children’s Game
Portrait of Vincent
Two members of The Family
The Car Will be The Death of You
Ghost in The Car
Sketch book works 2016