Installation

H(u)mmmmmm… , 2019.

My work continues to evolve and towards the later months of 2019 and into 2020 I became more interested in the human connection to nature.

This project focused on bees, as invisible worker and how their important duty is often ignorantly forgotten or unnoticed.

Creating refined and fragile drawings of bees, despite being larger than life, slipped away unnoticed into the structure of the building. This installation combined my interest of 2-dimensional works expanding into spacial concerns.

In contrast to some of my bold installations, H(u)mmmmmm… , 2019 almost disappeared into the architecture for only those willing to stop, slow down and look with care to see.

Often vital systems hmmmmm along, but the question is is when will ‘u’ notice and recognise them?

Message in a bottle …

Untitled, (Paper painting in woods), 2017

This experimental installation focused on concerns of expanded painting and its relationship to site specific environments. The subject-object relations collided with working in nature, which continues to creep its way further into my practice, as evidenced as far back to this 2016 installation.

It included an enquiry into painting as an expanded form: using gestured brush strokes on papers; an expressive form of painting, which was then cut out in the multiple and placed throughout the woods. The sculpted papers where placed to slip awry into the environment to become apart of natures landscape, although an invasive parasite to the trees. Ironically, mimicking its past self the paper attempted to echo the tree.

During the years 2016 - 2017 my refinement and detail responses within painting lacked, I explored the bodily gesture and expression with painting on the surfaces on paper. Its pace and fluidity engaged me.

The squiggle shape and is fluid gestured form continues to occur in my works, as a natural reflect of mine. The cut - out process allowed the marks of the gesture to expand themselves into new expressions of being - sculpted and concerned with space. This intrigues me. How the surface of the paper wraps itself to a moveable body to fill the cracks or contaminate the environment.

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In 2016, a question excited me: How could 2-dimension painting could express spacial concerns? And still till this day ( 2020) remains an important factor in my practice.

Untitled, ( News paper), 2016.

Covering the room with sheets of paper was an exploration into how the 2- dimensional can become a sculptural, spacial and expanded form. 2016 was when ideas of expanded painting and interest into spacial concerns began.

Older explorations into installation…

Abstract ( light and shape), 2016.

An exploration into the abstractions of light, colour and shape. This immersive installation took place in a flat corridor, 5m x 3m. Light projection, wooden (MDF) spray painted cut outs to make sculptural forms with a nod to 2-D painterly effects. The installation incorporated ideas of gesture and expanded painting with light and how bodies/shapes/forms can be manipulated using light and colour.

Paper Abstract Cutouts, 2016.

Paper cut outs of painted shapes to act as a base for the installation. Images are taken from printed photographs.

Installation focuses on abstract light, colour and shape in a less fluid form. Developments of this work led me for explore more organic, globular structures.