I am drawn to a sense of, what I term, “Temporal Dissonance” at play within sites and spaces that, for example, were once active industrial sites but have now suffered a decline or redundancy; ‘Non-sites’, spaces of transient or temporary activity, that sit on the threshold of urban landscapes; or spaces that through proposed planning and infrastructure, have become somewhat incoherent, irrelevant, fragmented and lost to their former potential. Imbued with an aura of their lived pasts, they act as conduit spaces for my exploration into time and duration, and call to mind the brevity of our occupancy of space.
My practice is rooted in printmaking. Its very distinctive attributes of repetition, transference, surface, layering, inversion, doubling, inform my approach to installation, moving image, drawing and sculpture, where material, structural and conceptual devices are used to infer meaning. The print for me represents the dialectical image and is ‘the evidence’, ‘the trace’, ‘the vestige’ of its referent or matrix. This conjures up notions of presence/absence, the duality of here/not here, now/then. Preoccupied with the, sometimes, discordant interplay between the static and dynamic image, I set up multi-dimensional installations, or fragmented images, signalling my interpretations of time and memory as malleable concepts.
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