A revised artists statement

Forever a work in progress.

You could probably call it a reflection; rather than a statement.

An attempt at grounding my reflections and understanding the direction in which my thoughts are taking me.

The process of making is still important, but now there is less focus on using the items I find by chance.

This was a pivotal part of my practice, this was partly due to the surroundings I had, and the abundance of items. Still interested in the stuff, except now I am more focused on the viewers reaction and what then occurs as a result. Utilising this to create. 

Switching the emphasis of the origin of the piece is the direction I am trying to steer towards. I want to facilitate the interaction of viewer/artwork and then that interaction becomes the end goal. In effect a collaboration occurs, but the collaborators may not be aware.

Removing, and then adapting the line between the art, the artist and the viewer. The preconceived notion that the art in a gallery should not be touched, in my opinion, can sometimes create a rift between people, creating a bubble.


Merging disciplines and finding a common ground between play, performance, sculpture and installation; audience involvement is inevitable.


Mapping, documenting and quantifying is also important. Not just my work, the reactions, but also the underlying logic (or lack of) surrounding it. 

Finding a geographical comfort and context often helps me centre my ideas. This means I chart my surroundings. With spatial diagrams (maps) finding a grounding in the space. Specifically this time, I saw a lack of ‘things’ to find and respond to (as I have done before) so a new approach has been required. This logical ‘grounding’ is a technique I often turn to. 


Equations and reason interest me. With my previous work I devised an equation to try to visualise intention. And giving a value to the ‘fixes’ along the way. You can see this here

As my work expands I would like to visualise the connection between technical difficulty (either through making process, or physical movement) emotional content (again, either through media or physical acting out) and audience attentiveness. Creating work that requires a level of participation creates a perfect stage to collect this information.

From this I have been experimenting with very basic graphing programmes. The way the points change as a corresponding point moves is also an aspect I want to achieve with some form of sculpture. The more I try to contextualize this the more I start to question if that’s the right answer. Than again, I may just need to work through that. For now I will work with the shapes, form and movement I can see. 



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