Printed beach towel
The work was initiated as a response to the 1998 film ‘Deep Impact’ and a scene where the character Jenny (Tea Leoni) reconciles with her estranged German father (Maximilian Schell) on a beach on the West Coast of America. As a tsumnami wave following a meteor strike travels towards them, they embrace for the last time. The film, one of a series of global disaster movies in the 90s intentionally or unintentionally synthesises global annihilation with a form of Lacanian Jouissance, excessive joy.
Parcel Tape Crucifix 2016
Fascinated by the idea of contingency, this work, which is a bronze cast of a crucifix form constructed with parcel tape, became a means of visualising symbolism through urgency and desperation, This was the imagined fictional context of the piece. The concept of immediacy configuring a means of familiarity in the face of hopelessness was equally informed by my interest in Daniel DeFoe’s novel-‘The Life and Strange Adventures of ‘Robinson Crusoe’ 1719.
Pub Fire 2014
All Land No Sea 2018
Bossons portrait bust, clay, enamel
Hanging printed Silk Tie
Skateboard, props, Biro, Glue stick
After Katsushika Hukosai Mount Fuji 2018
Adapted Snooker Cue
Devine Violence #1 2016
Plaster, objects, paint
Devine Violence #2 2016
Plaster, objects, Paint
Mono Curse 2016
Hour of the Wolf 2016
Childrens Jacket with Sequins
Inspired by the film ‘The Wanderers’ the work comprises a found children jacket and over a thousand sequins. It imagines one of a gang of tribalistic pre-teens whose emblematic and charasmatic uniform jacket has been fatetully mislaid.
Island 2016 (detail)
Wallpaper, nails, shaving mirror
Nothing. No Thing 2017
Reconstructed Paper Plane Paper, ink, cut paper, Creaser, pencil
A flightless paper airplane exactingly remade through drawing, cutting and folded with a creasing tool. The object of playful boredom is rendered as a stationary artefact. It continues my interest in the concept of negation.
Spectre 1/20 2018
Clay, Oil, Acrylic, Graphite, Screw
A series of twenty wall based, actual size recreations of potatoes with characteristics of pareidolia. The works appear as found objects though their construction is intentionally evident in each form.
Slaughtered Lamb 2018
Plastic, Porcelain clay, oil paint
The title refers to the Inn - The Slaughtered Lamb, from the 1981 John Landis film ‘An American Werewolf in London’. Though set on the Yorkshire moors the actual filming location was a family pub in Surrey, now a gastro-hostelry. The work presents the aftermath of a bar lunch completed with a pentangle of fries, a small act of subversion.
The work is a cast of a slice of bread that had holes picked out by hand representing eyes and mouth, the sort of gesture a child would make or a moment of absent minded humour. The amphropomorphic form takes on the look of a ghostly spectre suspended on the wall laughing at us. The cast creates the impression of an adapted stale toasted slice.
Middle Men 2018
An ongoing series of bluetack male heads, each one is no larger than five centimetres in height or diameter. Each head represents a portrait of a middle aged drunk man gurning at the world, impotent and powerless.
Casting Plaster, Enamel
Based on 16th C. alchemist and astrologer - Dr John Dee’s Scrying Mirror the work attempts to mute and debase the potential for magic. The work imagines the mirror wrapped in plastic, sealed and muted. The original can be found at the British Museum London and this work approximates the originals scale and dimensions. Neither, the title of the work originates from a short text by Samuel Beckett.
The image shows the work in face-on and side on views. The work is hung flush to a wall.