Sand Cast Bronze in two halves. Two component parts that can be manoeuvred independently. One half is copper nitrate solution.
A waste height bronze jellyfish with copper nitrate solution in parts. Can exist either indoors or outdoors.
Sancast Bronze Jellyfish, waist height. Bronze and Car Spray paint. Swaying in the current.
Jellyfish I and Jellyfish II co-existing and swaying in the current, like backing singers in a soul band. Can exist indoors or outdoors. Waist height.
Bronze and copper nitrate patina
Bronze and Car spray Paint
Sand Cast Bronze in two halves. Two component parts that can be manoeuvred independently. One half is copper nitrate solution.
Hairy sea spider. Sand cast bronze and car spray paint. Bristles on the bottom.
Sand-cast bronze urchin. Copper Nitrate Patina.
SOLD
Sand Cast Bronze in two halves. Two component parts that can be manoeuvred independently.
Sand cast octopus. Bronze. Can be kept inside or outside.
Sand cast Bronze Starfish. Car Spray paint and fluorescent yellow ear plugs.
Poured Bronze, ear plugs and Plastic hair curlers
Representing the tidal currents that circulate the world’s oceans. And also the tube worms that poke out of coral and rock formations.
Sand cast bronze squid.
Thinking about sea urchins and how they lurk at the bottom of the sea, awaiting discovery. But also thinking about human auras and how we connect with some people (and less so with others). Perhaps the aura is like a stickle brick, waiting to connect with other stickle bricks.
Glass rock Casts on Polished Copper
Iron Lung (2020)
Scaffolding, Weather Balloon, Air
SHORTLISTED FOR NEW CONTEMPORARIES 2021
The thin skin of the weather balloon bulges through its rigid steel restraints. It feels imprisoned; impotent against an immovable structure. The skin is filled with air. Air: our life force that has been immobilised, incarcerated, behind arbitrary walls. Now the air’s life-force is weakened, exhausted, and frustrated.
The iron lung was traditionally used to treat patients unable to breathe for themselves, often due to diseases such as polio. It had been abandoned in favour of more modern breathing apparatuses, however, since the rise of covid-19, there has been a renewed interest in the concept of the iron lung, which assists breathing through a negative pressure system. In order to receive the treatment, a patient is imprisoned in an iron cylinder for approximately two weeks, until recovery or death.
Featured in “Coming Up for Air”, and exhibition responding to climate change and sustainability to co-incide with the COP26 climate change talks in Glasgow. This work looks at air pollution and its affects on lungs.
Highly polished alabaster and copper rod.
A kiln-cast glass replica of the space in a rock crevice. The casts were taken from most treasured locations from around the Jersey coastline. The rock crevice is a place where water collects at low tide and creates its own tiny ocean. It is mysterious at first what the viewer is seeing; it may be something small or an iceberg or an island. Scale is difficult to determine.
I have made five different glass casts, taken from different coastal locations, displayed on polished copper. They have taken a year to produce and have been a complete about of love.
A 15m length of calico was hung off a harbour wall in Jersey at Low tide. As the tide came in over 6 hours, levels were marked off in hourly increments using oil bars, creating a live document which presented the way in which the tide ebbs according to the law of 12ths is a visual format.
Performance and drawing: covered by the Jersey Evening Post, and watched by an audience.
Acrylic on Tyvek
Work exploring marine navigation; vectors, bearings and routes taken across well-travelled seaways. Stretched onto a deep stretcher. 100 x130cm
Jersey has some of the largest tides in the British Isles. Tides rise and fall according to the Law of Twelfths which describes the varying speeds at which the sea rises or falls. This drawing interprets this by hanging 15m of canvas in the harbour and painting a band of colour to represent the passage of one hour. Battling against wind, waves, weather and cold for a six-hour duration demonstrates the futility of attempting to interrupt natural forces. The performance is often absurdist with falls from ladders, accidents and the canvas being thrown about by the wind.
Despite global political unrest, the reliability and predictability of tides will continue to rise and fall according to their lunar cycle.
Printed Marks on Tyvek with Aqua-Oil and collage
This work takes marine navigation as its key motif with a red line indicating a journey taken. Coloured vectors are indicative of compass points and the colours represent a northern hemisphere colour palette. The triangular symbol is the sign for a northerly cardinal in marine navigation.
There are elements of collage taken from an appropriated windsurf sail.
Printed marks on Tyvek, Collaged windsurf sail and acrylic
Looking at journeys, vectors and navigation. The triangular symbol denies an easterly cardinal marker in marine navigation.
Powdered Pigment, dispersed by wind and activated by the the Oman Sea. On Indian Rag Paper
A public sculpture made for Surrey Heathlands.
Steel, Glass, Car Spray Paint. 2021
Navigating Elements draws inspiration from Cardinal Markers used in Marine Navigation. Cardinal Markers warn mariners of a potential hazard and prompt them to pass North, South, East or West of its position. They use yellow and black bands of colour on the upright poles to signify direction. Cones, which appear as double triangles from a 360 degree position, re-enforce this. Basing my work on these signifiers, Navigating Elements uses colours that are personally representative of the sea; red, neon yellow and marine blue, to reveal the direction of travel. Geometric triangular shapes reference the triangular cones atop the cardinals but have been adapted. Each geometric shape will hold a hand blown glass vessel designed to act as a petri-dish to capture one of Aristotle’s four elements: Water (rain), Earth (leaves and twigs), Fire (sunlight) and Air. Each cardinal will prompt the visitor to Surrey Heathlands to change direction, following a path around the heath.
Steel Structure with Rice paper and Balsa Wood Paint Bomb
Powdered pigment is contained within the rice paper parcel and is activated by the waves to colour the rice paper in unpredictable ways.
Steel Structure with Rice paper and Balsa Wood Paint Bomb
Powdered pigment is contained within the rice paper parcel and is activated by the waves to colour the rice paper in unpredictable ways.
Hung a 15m length of calico off a harbour wall in Jersey at Low tide. As the tide came in over 6 hours, levels were marked off in hourly increments using oil bars, creating a live document which examined the way the tide moves according to the law of 12ths.
Performance piece, covered by the Jersey Evening Post, and watched by an audience.
A socially engaged performance work based on King Canute and the tides.
Based in Bexhill we tried to stop the tide with perspex sheets. This futile act represented our political frustrations and our inability to initiate change or stop the tide of political movements such as Brexit or Trump’s wall.
Also references walls/barriers, political or physical used to exclude people but shows that they too, are futile.
A photopolymer print of an illustration taken from The Observer’s Guide to Sea and Seashore, published in the 1960s. This has been printed on Somerset Paper and hand painted with watercolour.
A Photopolymer print on natural latex hovers above a copper plate that has been weathered in salt water, oxidising the surface to create a copper oxide island.
Edition of 3 Screen prints of Lobster Pots at Bouley Bay, Jersey.
Assemblage of studio debris
Assemblage of studio debris
Meditative Group drawing performance initiated through the voice of performance artist Emma Faulk.
Indian ink on Fabriano.
Group Performance drawing initiated by Greig Burgoyne. Examining drawing as a collective, while constrained/restrained by elastic.
Acrylic, masking tape over an underlying Drawing on Fabriano.
147cm x 150cm
Steel and hand-blown glass bubble containing lake water
Angular, steel shapes reference Aristotle’s triangular symbols for the elements: in particular, water, air and earth. The hand-blown glass bubble holds its own ocean, full of microscopic life. Its amniotic quality nods to our evolutionary beginnings, not only as foetuses, but also our evolution from fish to mammal. With the chemical make-up of our blood comparable to the sea; we are from the sea and we are of the sea. As Virginia Wolfe said, “There are tides in the body” and the glass bubble, akin to a spirit level, offers to measure the ebb and flow of tides in our watery bodies.
The work alludes to an abandoned, pseudo-scientific device, once used to measure and capture weather and tide. It appears to calculate the passage of time and space using the elements, in a skill long since forgotten. It questions the triangulate relationship between us, the sun, and place.
The bubble balances unpredictably above the surface, holding an echo of another surface within it. Confused boundaries between water and air muddle Cartesian dualities of above and below. It’s underbelly and contents are reflected back to itself with a nod to Narcissus. The mirrored nature of the surface acts as a portal into another world and a reflection of our own. Misleading reflections play out on the water’s surface and allude to an unclear infinity.
Steel and hand-blown glass bubble containing lake water
Angular, steel shapes reference Aristotle’s triangular symbols for the elements: in particular, water, air and earth. The hand-blown glass bubble holds its own ocean, full of microscopic life. Its amniotic quality nods to our evolutionary beginnings, not only as foetuses, but also our evolution from fish to mammal. With the chemical make-up of our blood comparable to the sea; we are from the sea and we are of the sea. As Virginia Wolfe said, “There are tides in the body” and the glass bubble, akin to a spirit level, offers to measure the ebb and flow of tides in our watery bodies.
The work alludes to an abandoned, pseudo-scientific device, once used to measure and capture weather and tide. It appears to calculate the passage of time and space using the elements, in a skill long since forgotten. It questions the triangulate relationship between us, the sun, and place.
The bubble balances unpredictably above the surface, holding an echo of another surface within it. Confused boundaries between water and air muddle Cartesian dualities of above and below. It’s underbelly and contents are reflected back to itself with a nod to Narcissus. The mirrored nature of the surface acts as a portal into another world and a reflection of our own. Misleading reflections play out on the water’s surface and allude to an unclear infinity.
Steel and hand-blown glass bubble containing lake water
Plastic Crates
Stack exists within its own landscape, isolated and discarded. Each plastic crate represents a horizontal slice of ocean, carved from the sea and stacked vertically into a new land.
These layers are redolent of earlier tide drawings made up of horizontal bands of colour, each representing the passage of one hour of time. Furthermore, they nod to a new sense of perception in our contemporary world introduced by Hito Steyerl in The Wretched of the Screen (2012) of an aerial perspective that has replaced the traditional linear perspective. This 3D perspective occupies a vertical axis, stacked with horizontal layers inhabited by competing geo-political powers.
Stack acts as a totemic monument to human connection to the land and rural productivity. It refers to an endless labour redolent of the myth of Sisyphus. Further enhancing the concept of repetitive, futile labour, the crates’ perforated sides would retain no water, taking endless hours of labour to never fill. Additionally, the repetition in the reflections also suggest an endlessness. It is unclear how much is submerged begging the question of what lies beneath. Furthermore, the perforated fabric of the crates, invites us to look beyond the surface and look inside it, through it and beyond, whilst appreciating it atavistic form.
Although a temporary work, its scale resembles a public monument. It comments on plastic overwhelming our waters, on decay and entropy. Its feeling of permanence and longevity is further enhanced by our knowledge of the time it takes plastic to biodegrade in our waters. It is fabricated by the very thing it comments on: the overwhelming plastic refuse in our waters.
Plastic Crates
Plastic Crates (fallen)
Despite Stack’s sense of longevity, it is light, fragile and easy to displace. The image of the fallen crates reiterates the fragility of monuments and reminds us that the surface of the water is not a physical membrane and the crates pierce the body of water easily and become entangled within it and absorbed by it. Having once stood sentinel, Stack can easily become consumed/engulfed by the water
Latex Weather Balloon, Rope, Lake Water, Breath
The latex balloon filled with water and breath, stands alone, grazing the surface of the water. It projects a sense of sadness, a state of being alone, at the mercy of the water and wind.
Virginia Woolf’s belief that, “There are tides in the body.” connects to the fact that our watery bodies, born of the sea, have levels that ebb and flow in the same way that a breath rises and falls in our body. Water and breath are essential for the survival of our species but here, both are restrained within a confining skein. Perhaps, wisely so. Whilst we isolate ourselves in fear of the pandemic, the breath contained within, carries the threat of trace element pathogens.
The imprisoned water yearns to touch and flow into the larger body of water but is separated by the impenetrable membrane. Tantalisingly close, the smaller water recollects the myth of Tantalus, doomed to eternal thirst, despite standing in a pool of water. Almost touching the surface, the water is permanently out of reach. This state of yearning reflects our own frustrations due to the pandemic.
However, despite this, the oscillation of the weather balloon across the still surface of the water, offers a calm centre in amongst the anxiety and mayhem. Ducklings and cygnets hover at the periphery, evoking the undeniable gestational parallels. Resemblance to a swollen amniotic sac, full of microscopic life, alludes to a potential for life and adventure after this pandemic has passed.
“We all eventually pass our watery selves on.” (Neimanis, 2019:111)
Rope, Latex Weather Balloon, Breath and Water
The latex balloon filled with water and breath, stands alone, grazing the surface of the water. It projects a sense of sadness, a state of being alone, at the mercy of the water and wind.
Virginia Woolf’s belief that, “There are tides in the body.” connects to the fact that our watery bodies, born of the sea, have levels that ebb and flow in the same way that a breath rises and falls in our body. Water and breath are essential for the survival of our species but here, both are restrained within a confining skein. Perhaps, wisely so. Whilst we isolate ourselves in fear of the pandemic, the breath contained within, carries the threat of trace element pathogens.
The imprisoned water yearns to touch and flow into the larger body of water but is separated by the impenetrable membrane. Tantalisingly close, the smaller water recollects the myth of Tantalus, doomed to eternal thirst, despite standing in a pool of water. Almost touching the surface, the water is permanently out of reach. This state of yearning reflects our own frustrations due to the pandemic.
However, despite this, the oscillation of the weather balloon across the still surface of the water, offers a calm centre in amongst the anxiety and mayhem. Ducklings and cygnets hover at the periphery, evoking the undeniable gestational parallels. Resemblance to a swollen amniotic sac, full of microscopic life, alludes to a potential for life and adventure after this pandemic has passed.
“We all eventually pass our watery selves on.”
(Neimanis, 2019:111)
Rope, Latex Weather Balloon, Breath and Water