Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
Monoprint
Media Dimensions: 50 x 40 cm
Image Dimensions: 20 x 14 cm
Unique work
My practice is often to do with memory; collective, generational as well as personal. Within this realm of memory, I specifically explore absences and removals, how they are fundamental actors in the build-up of souvenir and remembrance. Not erasure, but instead, how absences can become generative terrain for newness and rebirth. My visual research usually begins from a collection of visual material (such as video stills/screenshots) - an archive. This offers endless opportunity for the 'reassemblage' I then do in my work. I find that a somewhat logical sequence of images can put our notions of reality and remembrance into question by activating our capacity of association. How the gaps and cuts that exist between any form of assemblage, these 'spaces between things', become spaces for insertion and connection. I use the mechanics of printmaking as a way of thinking but also creating because there is a constant tension between printmaker and volatile printing process - often threatening the desired perfection of image representation. I like the way this describes the fugitive nature of memory images, and how their materiality is all too threatened by destruction or disappearance. This tense grey-zone of record vs disappearance is one I like to situate my work in, to create a certain memorial activation.
Monoprint
Media Dimensions: 50 x 40 cm
Image Dimensions: 20 x 14 cm
Unique work
My practice is often to do with memory; collective, generational as well as personal. Within this realm of memory, I specifically explore absences and removals, how they are fundamental actors in the build-up of souvenir and remembrance. Not erasure, but instead, how absences can become generative terrain for newness and rebirth. My visual research usually begins from a collection of visual material (such as video stills/screenshots) - an archive. This offers endless opportunity for the 'reassemblage' I then do in my work. I find that a somewhat logical sequence of images can put our notions of reality and remembrance into question by activating our capacity of association. How the gaps and cuts that exist between any form of assemblage, these 'spaces between things', become spaces for insertion and connection. I use the mechanics of printmaking as a way of thinking but also creating because there is a constant tension between printmaker and volatile printing process - often threatening the desired perfection of image representation. I like the way this describes the fugitive nature of memory images, and how their materiality is all too threatened by destruction or disappearance. This tense grey-zone of record vs disappearance is one I like to situate my work in, to create a certain memorial activation.
