Non-Volatile Archive:
Focusing on corporeal relationships, I’m interested in creating anthropomorphic spaces that the body encounters. Exploring boundaries and the limits of the space itself. Interior and exterior membranes, tissues, material states, emotional states. What lies above and sits below the surface, the porousness between the body and environment, experiencing trauma, what is visible in terms of present time, hidden histories and speculative potentials and what remains out of sight?
Made in collaboration with Alëna Vinokurova
Installation 2019
Ruptured Sculptures
A breach, breaking or bursting suddenly or completely. A word with a medical affinity, implying urgency. Associated with an object, container, or body part such as an organ or membrane, signifying a certain fragility, a weak spot which will result in a crisis, of sorts.
When a surface or situation has reached its defining limit, in which neither is anymore able to hold or carry weight or volume.
Acute, overpowering and often painful, physically, mentally and materially, a pulling apart that may never be put back together the same way it came undone.
An archive: The porousness between the body and environment, exploring boundaries and the limits of the space itself. I’m interested in creating anthropomorphic spaces that the body encounters.
After a slow period of recovery, whilst still under distancing and quarantine conditions,
we began escaping the house to search for an external room with its own walls.
A wall large enough to hit a ball against.
To build upon our lagging physical and psychological conditions,
Throw, strike, catch, drop.
A rhythm. An exchange during blurred times
Inside and outside
A different kind of isolation
Shadows of our former selves couped-up
Something slips between us
A lack of precision, a struggle,
We keep dropping . . .
the
ball.
This was repeated over the course of 3 weeks.
Until we no longer needed the wall.
We needed something else.
Audio Visual and written works 2020
Fairbourne, has been declared the first village in Wales to be given back to the sea in a planned ‘decommissioning’ over the coming 22 years. This will create the first known Climate Refugees within the UK. Decommissioning involves the removal of all traces of life, residents will be relocated, buildings and infrastructures will be dismantled and deconstructed. Using walking as a methodology, this long-term research process, with the aim of taking multiple positions, from historical and mythical references, dating back to 6th Century, to geological and archaeological research from the early Holocene, tracing lost lands below the sea, that hold largely unexplored records of settlement and colonisation linked to climate change over millennia. My aim is to not only walk, but to map the dismantling of human presence over the coming years, creating dialogues with residents both past and present, creating movement, recording change with all involved parties and most importantly, the environment itself.
Photographic and text pieces 2019
This page is underway,
I am not quite there yet…
Hanging by a thread, these domestic sculptures portray a physical tension between the real and a psychological kind of horror.
The wires they hang from are taught, carrying the weight they gently rotate in the space and whilst vicious looking, they are also peculiarly biomorphic and beautiful.
Sculptures 2019
All the Trappings…
A video account of an internal world, a shape-shifting space where past and present coexist, where materiality is not so much about bricks and mortar, but more as extended metaphors, where the conditions of identity and existence are in a radical flux of unravelling and remaking.
