Degree Show

I wanted to find a line, 

a tone, a place where touch might see,

and sight might touch.

Where an expression might belong for a moment.

set, in sediment, crystallized.

Where once it bubbled, popped, appeared, happened.

Now, A soft clinging, a hinting, on edge,

an awkward visual hum,

In suspension,

tempting tension.

A glimpse

Fragmented,

Fragile,

Faded.

Jewels

Jaded, but marked.

Sitting here, in what was my little space, on this late April evening, I regard the empty walls, tables and floors. Only weeks ago they were covered with the sum of my years labour. Now having brutally edited and packed them aside, I contemplate its worth; and the many hours I have spent lost in the processes of material, spatial and narrative exploration.

The process of creation plays over and over, sifting shifting, arrangement after arrangement, the motion of hand, the line it draws from piece to piece, place to place, repetitively, sometimes meditatively, movements spinning metaphors in my mind. The rhythm of structures, the pause of blank spaces, and the interjection and tensions simmering with a soft, awkward hum - on the edge of our vision.

Fleeting images and happenings punctuate my process, tarnished with reflections, grasped, held, crystallised, and treasured as such.

Lifted too from their relative worthlessness, are the mundane materials I chose and manipulate, now avoid of function are set as sediment, a shell, a reminder of my alteration processes, and remaining riddled with the complexity of both their prior and present associations.

In cleanliness and clear concise formalities I can recognition the merits of such ambiguity and complexity. There is the hope of attraction towards these curios indeterminable things, and the hope that some meaning is brought by a combinations of things working together.  It is also through mastery and uncertainty that manifest my process of creation.

The work you see contains the effort to convey this process.

It also contains a sprinkle of emotional dust, the breaths of sighs, the glimmers of delights, - the threads of a constitution that has found expression in this space.

It contains so many an evening golden glow, seeped in through the glass.

It contains the quietness whereby sounds might be heard.

It contains a sense of stillness whereby thoughts might wonder.

This sensual methodology is mirrored in the varying surfaces and textures shown.

Let our touch want to see and our sight touch.

Let lines simultaneously hold and liberate our engagement.

Let wonder be allowed.

Let wonder in.         Reflections are so gently filled with a huge         scope of imagery, layer on layer, the more         reflections happening the more ambiguous         and exciting, - the more the mind can wonder.                            Precarious parallels,        patches of complete carelessness.        I better watch with wise eyes now.         If a photograph was displayed simple as such, it         would detract from the quietness in other         components, I’ve done it myself, headed         immediately to the most obvious ‘I am art’ thing         and then everything else is interpreted within its         context. There will be a mood to my space upon         entering which I hope will be the initial context         through which the work can be read. Be careful         how you draw your audience.		THOUGHTS
In the same way I intent the view brought into         my space, I intend the space and work brought         out into the view.         The is a constant interest in all my work acting         simultaneously as, research, documentation,         finished work, and process.. since there is no         right or wrong, work or none work, why can’t         everything cross over, one day it will be the work,         the next it will be nothing, one day it will be         hung up, proud, the next day it will lie dead.          All depending on which way its nudged, -         a role of the artist.
When you realise you can’t recognise, you             recognise a reality.       I’m exploring the shifting perspectives, functions       and materials used for art making, in particular       drawing. (e.g. the picture frame, and the invisible       wire) I’ll display both the common use value of a       material and it as an object of art within the same       composition, a tension between the two will come       into play and thus lightly challenge both the       function of the material and the art object. The       most exciting part for me is the in between area,       where both are acting as both, a complexity of       association in two very simple materials and forms.
Memorable. Moving. Succinct. Meaningful            and generous. – be generous and your            audience will be too.            Minimalism becoming too decorative.
There’s a place for work that can be easily            talked about and easily clarified, without            necessary further reading. But I’m not very            adept at that, I think it takes practice, lots of it.           Prioritise material experience over language,           yes?
Don’t allow anything to exist on its own, -           because they don’t.           What does object making have to do with           our objective responses?
How much to give away? How much is           anything your own work?           Everything is influenced by something;           it’s just finding and building your own           narrative.