My interest in the landscape through ruins and objects started when I was very young, my Nan used to live in front of the old cotton mills in Lancashire, and we would go exploring. I found them fascinating, huge buildings, derelict towers and hundreds of small windows full of old machinery. These were not just spaces, but also memories, fleeting moments captured in a ruin. By refusing to accept conventional boundaries within the art, I seek to juxtapose, expand and translate what I see into my practice.
I relish any opportunity for me to explore and navigate the rich history of industry and its lost fragments of information within. Walter Benjamin wrote, “For every image of the past that is not recognised by the present as one of its own concerns threatens to disappear irretrievably”. History and its fragments stand as memories within the human mind, it is only when we confront fragments that memory is awakened, creating a surreal moment of connection with artwork, object, and audience.
The work I create is centered on the fragment, ruin and the blind spots we so easily miss. to then translate these through an exploration of its purpose in time and how we relate to it. With such unpredictable futures, we turn to the narratives of the past, yet today’s reality is neither a future imagined nor a return to history, it is an abandonment of these temporalities. Capturing that which extends beyond the facts into the realm of experience, emotion, and memory.
By manipulating, disrupting and re-evaluating the tensions between these fragments. Through an alchemy and metamorphosis of material to create a mix of fact and fictions of lost information. This process is examining deeper-rooted contemporary issues of industry and the human connections within objects, spaces, and surface. My art is a language that is translated in a painterly exploration of sculpture, photography, and installation.
When an object is discarded and becomes a ruin, does it then take on its previous material being, become something new, or carry the burden of a history it acquired through time? It’s these questions I intend to explore through my work.
Influential artists within my practice are many but it is Robert Rauschenberg and Anselm Kiefer’s pieces that create a narrative through both the readymade object and collections of found materials, with these they create work that translates meaning with historical and political context which bounces between fiction and reality.