The Day Remains_ii show 2013

   Not a wasteland was originally made for the Euston Church crypt – Surface exhibition 2011. This instillation at The Peltz Room Gallery shows the piece altered for the space. I took the idea of the church and sacred spaces and drew on influences from the early christian notion of the wood and trees being the first christian/pagan symbols. Referrencing  Albrect Aldorfer an early german romantic landscape artist who first

off with their heads grayson perry late

British museum Grayson Perry Late

  Installation / Head – The British Museum 2011   British Museum Great Court 11 Nov 2011 On Friday 11 November 2011, students from the University of the Arts London took over the British Museum for one exciting night curating projects for the public to enjoy that were inspired by the exhibition Grayson Perry’s The Tomb of the Unknown Craftsman. In response to the Grayson Perry Exhibition – I wanted to make a piece that

Boundary – MA show 2012

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

Turning sea / turning

  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

sea

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.