As a visual artist my research is driven by a response to place realised
through drawing. Often large-scale, I produce my work through a range
of process including woodcut, large-scale drawings and intaglio print.
I aim to suggest a sense of the strength, resilience and yet ultimate
fragility of place. For me the act of drawing has almost magical qualities,
allowing me to connect the physical with memory.
Working within a context of place and a changing environment, I seek
out locations that are in dynamic flux or change. Whether this is
man-made such as buildings in a state of demolition or abandonment,
quarried landscape or through the forces of nature such as geologically
changing or glacially eroded landscape the subjects are connected
by their sense of scale or drama. Much of my work is derived through
travel. My interest in landscape and its histories has taken me to
diverse locations, from local environments to the remote regions of
Antarctica. My interest is focused on how the apparently monumental
can be so fragile.
A central concern in my work focuses on how the process of drawing
can inform a critical response to place. The realisation of an image,
for example my use of chalk on blackboard, a fragile medium that is
easily wiped away, can both render an image and act as metaphor. On
closer examination of the image it’s traces and erasures also
act as a reminder of human mark making. This contingent relationship
between landscape and memory underlies the process, I aim to seek
out and capture the elusiveness of the subject through the materiality
of the work.
In recent work I have focused on the dynamics of the built landscape
and how place can be read as a layering of historical traces. Looking
at cities that have undergone dramatic shifts, I am interested in
how the appearance of a city can retain the structures and patterns
of its history. In an ongoing project I have been looking at the city
of Berlin where this is particularly evident, having experienced the
political and social extremes of the C20. The inevitable decline and
renewal of utopian planning is apparent and is imprinted on the city’s
monumental street plans and buildings.
A recent project looks at Rome, focusing on the axis between ancient
Rome and Mussolini’s Fascist plans for the city. My interest
was focused on looking at the simultaneous periods of time, mainly
the sites of ancient Rome, and how Imperialist architecture was later
appropriated to lend credibility to new regimes. The shadow of classical
antiquity cast on Western civilization ominously stretches into present
Through an approach of site based research and visual practice I seek
to question our perception and experience of environment as immutable
and resilient. At the heart of my work I am concerned with whether
drawing can present both a metaphor and visual space for reflection
and engagement with contemporary changes to our surroundings and environment.