Selected Works & MA Application

BA(Hons) Critical Fine Art Practice
Kingston University 1993-1996

Statement of Intent

Building on the experience of a three month scholarship to Milan, I have found my practice tending to begin with a pre-existing object, then move towards the construction of new interpretations for it. This technique was initially deployed in reference to Italian superstarlet Valeria Marini, whom I proposed as a personification of intricate bodily narratives.

Theoretically led, my recent work has been an attempt to construct an individual aesthetic vocabulary for discussing the rhetoric contained in interpreting these pre-existing art objects. This has tended to develop in two ways. The first is a growing interest in the re-evaluation of late Modernist practice, and reworkings of New York School stereotypes. In doing this, I have been using a process of gradual formal reduction (attempts to refine my work through progressive phases), which has paradoxically resulted in the reverse effect of ever widening the theoretical basis of the work. Therefore, consciously heavy with historical references, my practice has thus tended to work towards the inability to achieve an absolute.

Parallel to this has been the production of a large series of text and photographic based objects which borrow from the arena of light entertainment. This has resulted not only in lengthy written pieces but also in computer-aided explorations which attempt to blur the distinction between what might be termed as real or constructed. In this context, it has been particularly interesting to expand upon a notion of supposed indifference to any manner of artistic intervention.

My aim at this point is to attempt to marry these two β€˜strands’ of the practice together in such a way that one might compliment the other, employing the vocabulary of the mediocre.

I also intended to expand upon my existing aesthetic vocabulary and actively encourage the linguistic and visual ambiguities which are appearing to become more and more integral to the themes which I have been considering.

Polarised Lollipop (Antidote)

Installation at the Brera Academy of Fine Arts, Milan 1995
Confetti, Photographs, Plexiglass, Assorted Perfumes

The Loveable Sebastian, Part Two

Sculpture 1995
Emulsion Paint, Acrylic Sheeting, Plastic

Of The Flies Of The Marketplace

Documentation of Performance 1995
Sandblasted and Painted Acrylic Sandwichboard, Suit, 101 Plaster Cast Dalmations, Fabric Bag, Strangers

A Heightened Shelf Life

Photographic Diptych 1995

Disjointed Stuntation (Billboard Triptych)

Computer Manipulated Print 1995

Monument Displacement

Computer Manipulated Print 1995

Raised To The Level Of The Mediocre

Photograph, New York 1996

Β© Hans Namuth 1948

Photograph 1996


Letters of Acceptance and Rejection


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Yeovil College School of Art