Making that remembers: how can the bonding properties of materials make emotions tangible?
How can we fully know what someone else is experiencing emotionally and how might this knowing catalyse the ways we understand cognitive dissonance, trauma and what gets stuck between broken and mended within an ecosystem (of a family). How can this reveal the strengths of experiencing life in the in-between – perhaps the critical space for radical, meaning making of self to materialise. Through the manipulation of plastic artistic materials, I am asking if making can remember emotion – can the making elicit ways to embody rather than merely represent the emotional state of the maker? How can the bonding and sticking properties and the window of opportunity inherent during making of and making with clay, paper and pigment in association with water make a liminal, dissonant, ‘unspeakable’ state tangible? I am using a practice research, experimental, iterative, writing, autoethnographic method to excavate the artistic application of materials and written forms of expression.
School of Arts & Humanities
Arts & Humanities Research, 2020–
+44 7957 374681
I am UK-based visual artist and writer, developing national and international site-specific and public realm projects. My artistic concerns are influenced by the scope and significance of common experiences. I am interested in the relationships between people and place and what is hidden, obscured or unspoken in various social situations, and use these elements as a means to try and substantiate myriad lived experiences.
The form my work takes is often artist’s books, print and photography, and more, recently film. I also utilise my craft practice and make works with wax, clay and cast glass. I have developed projects with various organisations including “Where are we?” (2020), FrancisKnight; somewhere (2020), SEAS Brighton; edge/threshold/brink (2018) Nuit Blanche Toronto; Act, Campaign, Petition, Reform, Lobby, Argue and Soit droit fait come est desire (Let it be done as it is desired) (2015), Houses of Parliament; and a moment of your time (2013), People United & Turner Contemporary. I have recently been commissioned by Metal Southend to create a new permanent work for the Thames Estuary Trail as part of Estuary Festival 2021.
- MA Glass and Ceramics, Royal College of Art
- Winston Churchill Fellowship; DYCP Grant, Arts Council England; Eduardo Paolozzi Travel Bursary
- What's the Point? A case for art in the public domain (2020) pp30-31; Kerman, M. (2017) Contemporary British Artists of African Descent and the Unburdening of a Generation; Neal, L. (2015) Playing for Time, making art as if the world mattered