How do you describe your own art practice?
I work intuitively drawing reference from the connections between landscapes and the way in which people situate themselves there, I often focus on how its expressed through rurality, craft and materiality.
Alongside this I draw from my work as an artist educator, the workshops and prompts I facilitate act as a mode of research – something I then reconstruct visually. These often have a focus on gesture, surface and land to body associations.
Which question or theme is central in your work?
In my most recent body of work ‘Let’s Sketch the Lay of the Land’ I explore the connections between personhood and landscape, drawing together encountered forms, surfaces and assemblages. The book pairs associations found in skin and grass, mark making and fallen trees, open fires and shaded vistas.
This book project published by September Books in October last year marked a way of processing and pairing images that I understand now, to be the anchor – question – theme of my work. Continuously taking images, documenting interventions, making visible what is seen (photographed) and held (made).
What was your first experience with art?
Growing up I was always very encouraged to spend time making, from puppet workshops to collecting plants for clay reliefs, paper crafting, creating patterns with stamps and ink.
This definitely had a lasting impression and although my creative outlet now is primarily photography, my process almost always includes an element beyond this – whether it’s making wooden stands to hold my prints or exploring paper stocks and binds.
What is your greatest source of inspiration?
Ah, so many things – walking by the coast in North Cornwall where I grew up, or on misty fern moorlands more inland, spending time in bodies of water!
Conversations with friends about our practices, research methods, past projects and future ideas.
Collaborating with others on exhibitions and books projects, discussions around process, others work and the space or platform the work will be displayed.
Sometimes just days at home being quiet and flicking through artist books – I found this book published in 1971 called ‘Plywood from the Creative Craft Series’, it instantly excited me as I was presented with step by step instructional black and white photographs on how to make plywood sculptures and shapes. Its kooky, old fashioned and somewhat patronizing in its descriptions, I could imagine it sat at the bottom of a cupboard for years, replaced over time by new technicolour DT textbooks.
What do you need in order to create your work?
A feeling of spaciousness but also some sort of conclusion or end point, conversation and discussion around the work but also time to look inward and sit quietly with it. I’m still trying to find the perfect balance, and sometimes I need more of one thing than the other.
What work or artist has most recently surprised you?
I recently watched First Cow directed by Kelly Reicharch, its shot on a 4×3 frame and the scenes are slow, attentive and the friendship between the two main characters Cookie and King- Lu is gentle and kind amid a backdrop of harshness and hostility.
It feels quiet and considered, and has scenes with lovely rivers and large forests.
