My work has to do with absences and removals. Not erasure, but instead, how absences can become generative terrain for newness and rebirth.
I like to maintain an aspect of seriality in my practice. I most often work from video stills and find it important to hark back to the sequential nature of this material. Exploring our ability of association, despite gaps and cuts that exist between any form of assemblage. How these 'spaces between things' become spaces for insertion and connection.
Printmaking felt like a natural continuation of this way of working precisely because it is an active removal of material. The matrix becoming a vessel for the artist’s mark in which time is condensed. And I have gradually integrated this way of thinking through making.
Archives are often a necessary part of my research and process, serving both to connect and divide between temporalities and spaces. They allow an entry of sorts into varied 'time zones’, creating surfaces that can fold and bend, warping our comprehension of a 'real' or 'linear' time. I observe the distortions that nostalgia and the cinematic experience can have on our perception of time passing - immortalised within the death-defying archive.
My work has to do with absences and removals. Not erasure, but instead, how absences can become generative terrain for newness and rebirth.
I like to maintain an aspect of seriality in my practice. I most often work from video stills and find it important to hark back to the sequential nature of this material. Exploring our ability of association, despite gaps and cuts that exist between any form of assemblage. How these 'spaces between things' become spaces for insertion and connection.
Printmaking felt like a natural continuation of this way of working precisely because it is an active removal of material. The matrix becoming a vessel for the artist’s mark in which time is condensed. And I have gradually integrated this way of thinking through making.
Archives are often a necessary part of my research and process, serving both to connect and divide between temporalities and spaces. They allow an entry of sorts into varied 'time zones’, creating surfaces that can fold and bend, warping our comprehension of a 'real' or 'linear' time. I observe the distortions that nostalgia and the cinematic experience can have on our perception of time passing - immortalised within the death-defying archive.
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