FROM THE STUDIO
TRANCING THE THIRD MILLENNIUM (UNDERPAINTING) 3 M X 4 M
Portrait of Portrait (2024) oil, housepaint, chalk, graphite, canvas, wood. 120 x 150 x 6 cm
Interlace (2024) oil, housepaint, chalk, wood, 180 x 150 x 1 cm
Happiness (2024) oil, housepaint, graphite, chalk, canvas, 150 x 120 x 6 cm
Fret #12 (2024) oil, housepaint, graphite, chalk, canvas, 150 x 120 x 6 cm
MIDPOINT OF THIRD DREAM LAST SATURDAY NIGHT (2024) Oil, Wood, Chalkpaint, 183 x 122 cm)
Erasure I & II (2023) performance and video installation
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Inspired by Rauschenberg's Erased De Kooning Drawing (1953), Erasure I experiments with spontaneous fluid dual line making, tracing the human figures loosely based on Eadward Muybridge's Human Figure in Motion (1901). My practice aims at a drawing technique that merges breath, motion, and narrative, after which the entire piece is erased. I consider the convention of erasing a work especially liberating, 'freeing up the body and brain to 'play'!' Erasure II performs my newly emerged skill of bi-directional writing, something that occurred during my time on the Royal College of Art Graduate Diploma - Fine Art programme 2022/23. My expanded drawing practice research as immersively created bi-handed drawings, painting, and automatic writings, aims to draw/illustrate/spatially conceptualise the deontologising of agency. Drawing with both hands simultaneously produces an 'opening' sensation in the head/brain that almost shivers. As the information flows through my eyes and my hands I can feel the bumps and ridges of the nerve tracks the line travels along. The lines that appear on the paper are experienced (by me) as 'out of time', 'shaking', ‘shivering’, 'stretched', 'not of me'. Akin to automatic writing perhaps. Of interest, I have binocular vision which is most likely the reason why I took to drawing this way as a child, copying directly from History of Art magazines (1950s series). My aim is to both prepare drawings and prints, drawing upon tantric and occult trance practices to draw forth virtual scenes. My drawing also experiments with sgraffiti, drawing directly onto porcelain (terra sigillata). |
COP CHART 2060 & COSMIC DANCE (2022)
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Part of my Colonial Drift installation, Cosmic Dance is the interpretation of the astrological chart of the 2030 Climate Crisis date for the 1.5 degree charter set in Paris. The performance includes bi-handed drawings and chart analysis as ‘soma-neuro-immersive’ (SNI) ‘happenings’ tracing material and capital destruction by Nature. The astrological chart of COP 2030 (01.01.2030 at 00:01 hours, Greenwich, UK), expressed as a 1.2 m2 cube sculpture constructed of repurposed photography reflector frames (scrim-jim), double sided tape and cut 90 gsm trace paper, inside which, naked, and as an astrologer of 40-years, I spontaneously interpret, read, the chart.
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Venus Project I (2022-23)
Life Drawing
After Henry
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Astrological Portraits: Joseph Beuys
