My current practice is primarily positioned within installation and projection but also drawing due to the graphic nature of my imagery. My style is simple and direct but my making process is naturally ambitious. I begin with looking. I visually trace the lines of built landscapes and architecture. I find excitement from viewing in this way as there is an element of connection and ‘touch’. This motivates me to translate my visual experiences into artwork.

 

I see my process of making as a journey. I document what I do and where I go by taking photographs and one-second videos every day. I use these visual diaries to create drawings and animations of my experiences. These are translated into projections and installations which I reinsert into the environment. Recently my works are in the form of sculptural installation and projection mapping. 

 

Layering creates technical and conceptual depth in my work. Using light and projection in this way quickly transforms a space. So I am drawn to materials that have a degree of transparency. They layer and conceal physical surfaces whilst also leaving them visible. 

 

Light is at the essence of my practice. To perceive, there needs to be light. In my projections, I use light as a medium. Black and white are the extremes of light, incorporated in the graphical elements of my work. 

 

I like to explore scale. Architecture is scaled down through my documenting. Recording using photographs and videos means subjects are no longer their real size. Documentation is translated at human scale through drawing and animating processes, then returned to architectural scale through projection. Exchanges between the external and internal are entwined in this process. I communicate my perception of environments to an audience through projections, they come into existence and are re-visualized.

 

My work is inspired by current projection and installation artists. Mark Leckey’s O’ Magic Power of bleakness uses light and projection to create an immersive experience. Positioning the gallery visitor more as ‘participant’ than ‘viewer’. Like me, Leckey uses sculptural elements to emphasize scale. Similarly, the scale of Yayoi Kusama’s installations prompts the viewer to become part of her show and her world. Immersion is a key element in my work, like Kusama, I am interested in creating environments that change the viewer’s perception of reality. Inspiration comes from materials as well as artists. I absorb influence from projections in contexts outside of art, such as live performances and events.

 

I arrange immersive installations to encourage physical involvement, which allows its meaning to emerge. During the pandemic I have installed work outside, creating a safer installation accessible to all. With no studio, I install inside my house. Audiences may not see landscapes and architecture simplified into linear form, but situated within my work they may recognize aspects of the imagery. This will instil a sense of familiarity and a feeling of connection. Therefore, creating a spatial effect which enables viewing to become experiencing. Finally, the audience and their perceptions place another layer onto my work.