A Growing Rhythm for the Dancing Eye
With diverse overarching themes of joy, intoxication and intuition, the creations are a performance of form over content within a synthesis of space. The bespoke artist frames act as emotional value, subversively merging the numerous bodies of works. The works on paper are small and intimate – a constellation of fleeting variation, over and over, indeterminately fascinating. Making is often an uncertain fragmented cryptic game of manipulation & ecstatic composition, viscerally retaining captive mysteries for the audience to finalise the loop, imagine... ‘A growing rhythm for the dancing eye’.
School of Arts & Humanities
MA Print, 2018
Musical hosting in gay discotheques and Brighton’s Acid House warehouse parties, a residency at the famous Zap Club, and as ‘Lovebomb’, part of the electronic band Coco, Steel and Lovebomb signed to Warp Records, all helped to forge innovative ways of working and an ability to connect with a dancing audience.
As far back as the early 80s I was collecting eclectic electronica obsessively and I’m still collecting. These vinyl artefacts planted objective allure, co-existing as audio-visual toys – played, remixed and extended – dynamic receptors of the body, the vibratory vessel, within the discotheque. They empowered a sonic imagination that navigates around electronica’s symphonic multiplicities, where I, the fun programmer, intuitively glide around these heterogeneous playlists.
Influenced by the diverse cultural melting pot from underground New York disco to the eclectic Balearic scene to Art Brut, The Paradise Garage, Edgard Varese, Brian Eno, Wally Badarou, Analog Synthesizers and the 12-inch format record all embed an eccentric subversive beauty in experimental form.
Intuitively working within a synthesis (collage) of space, my inner visions are a cryptic game, referencing twin genres, art and music conjure up paradoxes, where there’s dynamic drama – endlessly captive and mysterious. Researching for my thesis enlightened an understanding of rhizomic composition and a love for its non-linearity.
By composing elements in the universal language of form and process I work metaphorically, like a gardener growing visceral ideas. It’s a spirit within my making that 's unique and individual.
- BA Fine Art Printmaking. University of Brighton 2016
- The Bridge Award 2014; The RCA Fund 2017