When i moved to Bath to study my BA i began an exploration of the space around my studio, to orient myself to a new environment. A process of deconstruction and constantly asking “why?” led to the beginnings of an artistic consideration of practice.
I begun to present artworks made with an appreciation for the accidental and incidental, beginning to question ideas of taste, meaning and the definition of art when you remove the artwork. This led to an understanding of the power of nomination in the creation of a work of art. Aesthetic intuitive decisions became something to be challenged and pushed to the limits. My work began a direct communication with the definition of ‘Art’.
The experience and perceptions of the viewer became more important as i stepped firmly into the realm of installation and Derrida’s parergon, a theoretical exploration of the physical and metaphysical framing of artworks, became a solid foundation within my practice.
I've come to describe my practice as perceptual. Similar to a conceptual process, in that the idea is the primary focus, but balanced with an embrace of process, attention to materials and aesthetic consideration. It is a process that relies upon observation, experimentation and near-obsessive documentation.