Tusnami Eau-forte – alternatif noir / blanc Cette gravure se compose d’impressions positives et négatives alternées blanches sur noir et noir sur blanc. Chaque panneau est de 45 cm x 98 cm Ils ont été faits en réponse à la catastrophe du tsunami qui a frappé le Japon en 2011 Il mesure 270 m de long, mais pourrait également être répété le long d’un mur entier d’une galerie. Boundary est
smoke stack 2014 Acrylic/mediums/pencil/ink on canvas 300cm x 100cm The somewhere 2014 Acrylic, ink,pencil,marker pens on canvas
Turning Sea/ turning A small series of etchings and mono prints exploring the idea of the impossibility of control and return to states of static – These mono prints and etchings are fragments really of an idea of the infinite and come form the seires of work I made about the japan Tsunami and the debris floating in the Atlantic. Since compleating that series I have been looking at terratories
The Sea – This is a recurring theme in my work – It is a point where movement and the ungraspable world start. Also a boundary where one effects the other – carrying away debris from disasters or evidence of mans footprints on the land. The changing nature of it and the discorse surrounding its romanticism and sublime nature keeps re defining the sea for me as a subject matter.
Jonathan Crary : Spectres of Negation : vera Lutter. 2004 Just read this text :In it he talks about how the camera obscura was used to make drawings originally. Vera Lutter uses it to make negative images that are familia but remain sealed. He then suggests that in the case of Vera Lutter that there is a limiting aspect to the negative image, they remain more silent, evoke absence
Boundary 270x 98 cm (version 2) show opening on Sept 5th 6-9 6th -13th sept/ Camberwell College of Arts /Peckham Road, London SE5 8UF
Framed version of the piece showing at Pitzhanger Manor 23 Jan – 9 March 2013
A Head 2011
Etching detail Boundary 2012 Japanese Conference at Kings College London – Meeting with the organiser today about curating a show around this conference which will take place in Nov 2012. Interesting to work with academics and get a military perspective on the trauma and emotional costs of such a catastrophy. It was the largest deployment of troops rallied in Japan since the second world war to cope with the
Caesura – History comes to a head in a moment of disaster, the time of disaster structures the danger of history. In the almost-no-time of this breakdown, thinking comes to a standstill. Eduardo Cadava – words of light -These on the photography of history A touching of truth happens when the subject is forced to accelerate beyond its actual self, when it looses itself in contact with what cannot be