How do you describe your own art practice?
The use, value and future of objects are central to my practice. Recent projects explore the formation of desire using modes of display, where structures of support are designed to elevate the status of other objects. Fragmentary forms caught in between states of useful and useless, inert and animated, manmade and naturally formed; objects in flux and how things exist beyond human agency. The work often focuses on complex cycles of production, circulation and consumption revealing an uncomfortable disjuncture between the abundance of manufactured goods and what happens to them once deemed obsolete.
Rather than working with objects as material forms in space, I am interested in their mediation and potential transformation through images. When forms collapse into the pictorial, slippages emerge between materiality and representation.
What was your first experience with art?
I used to draw lots as a kid, and was told I was good at it, a powerful impetus to keep doing something.
What is your greatest source of inspiration?
Objects.
What do you need in order to create your work?
I need a studio space; it doesn’t have to be big, just somewhere with a table, my books, camera, computer and a wall to hang work in progress. Then I need quiet, I can’t work with other people around, I get distracted and want to chat.
What are you working on at the moment?
Right now it’s all about logistics. I’m shipping a crate of photographs to Ireland for an exhibition ‘Golden Record’ as part of the Galway International Arts Festival in July.
I’m also planning to be in Helsinki at the end of the year, so researching into the art scene there, and looking for a studio. More immediately, I’m about to undertake a residency at WSW Rosendale, NY where I have access to a B&W Darkroom and Silkscreen workshop. I’m looking forward to an intense period of production.
What work or artist has most recently surprised you?
Sara Cwynar’s recent show at Foxy Production, New York – she rocks!
