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the crocus gallery open. 2013


separation anxiety, 2012.

 

curated by kay richards.

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gallarie bourgeois. 2013

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interjections I, II, III, 2012.

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i graduated from nottingham trent university in 2013.


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i graduated from my national diploma in fine art with a triple distinction in 2010. 



since then i've worked in and out of nottingham trent to produce contemporary art.

 

i graduated this year with a first class honours.



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surface gallery - the international postcard show. 2013
 
a handful of times, 2013.


 

art auction at nottingham trent university. 2013


and she was the sum total of her parts, 2013.

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mid point private view. 2013


means to an end, 2013.

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solo exhibition at the malt cross. 2013


the middle place, 2013.

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the moving image that i projected onto '10 maxwell street'. 2013


the image of my grandmother's hands rubbing together emulated the action of sanding that i did on the wooden parts.

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art auction at nottingham trent university. 2013


admission of failure, admission of imperfection, 2013.



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exhibited in 'the middle place' at the malt cross.


broken in 75 days.

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i really enjoy the practical and process based production methods used when working with wood. 

 

i'm a bit of a magpie when it comes to old furniture and i had found a lot of abandoned old drawers from a chest and taken them. as i was working with the materials i became interested in the idea of "debuilding" to "rebuild" and the cyclic or repetitive nature of my work. the drawers were built using simple joinery and I wanted to explore the possibilities of making using joining techniques. dovetail joints in particular are frequently used in furniture making; they're very strong even though they often use no nails or glue - they're held in place by the method in which they are cut. whilst making i think a lot about ideas surrounding degeneration, in particular how I can come to terms with my experience with the degenerative disease, Alzheimer's. the frames you see here are made using dovetail joints, and are presented as a stack. they draw attention to the corner of the room, and frame a projection of a landscape which 'ticks' on and off. i used a standard HD projector, but recorded the sound of a slide projector which I put into the edit along with alternating blank frames, so the final cut was suggestive of a slide projector. my intentions for the piece was that the projector was 'attempting' to depict the static images as a moving image, but couldn't quite make it. as a consequence the images seem to be stammering and stuttering. the audience must watch the projection for some time before it reveals itself - only over a prolonged period do you realise that the image is very slightly changing or amending itself each time it flashes.

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nottingham trent degree show, 2013.


i can speak for both of us.

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entered for the VIDEOMEDEJA 2013 international video festival.


i can speak for both of us.

 

a lot of my work could be described as documentative or autobiographical. i'm inspired by the things that i experience and the people that i meet. a lot of my work over the last year has been inspired by a summer i spent in maine, recording and editing documentary footage that i shot at a girls stay-away summer camp; in particular an encounter with a close friend who's mother had recently passed away.

 

the act of recording is cathartic for me. my practice concerns the temporality of experience and how we can engage with other people's memories.

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unexhibited work. 2013


in the mean time.

one part of my practice considers how the autobiographical can affect a piece of artwork. my personal experiences are often the starting point of my work but this can become problematic if i want people to be able to connect with the work that i make. i find the work of Cathy Wilkes particularly inspiring when thinking about abstracting the autobiographical. i can make sense of my work by considering phenomenology and how spaces, objects, sounds, moving image etc can be suggestive and connecting an audience to a work.

to create the finished piece, i also sanded the wall down which it rested on until it was totally smooth, and felt almost ceramic. the mdf underneath began to show through the sanded paintwork and emphasised the idea of revealing something new by taking parts away. the installation of this piece was difficult as it required a standard projector to be installed low to the ground. i'd been experimenting with a lot of compositional devices, like how an audience might interact with a work if it was low or high up; how they might understand it if there were visible electrical components and if that affected the readability of the work. the nature of the work was quite serious - notions of degeneration, relationships and human communication and i didn't want it to become contrived by disguising a projector, so i allowed it to become a part of the work. you can't see it in this video, because i always feel as though documentation should be very clean, and concise. the projector wasn't so much 'a part' of the piece, but rather an acknowledged component which allowed it to take shape.

i presented this piece as a projection onto a wooden surface. the parts i wanted to focus on were the contact between the hands; the softness when they touch, pat and stroke and what those gestures might mean. during this project i was particularly interested in how i could demonstrate a process which was taking place on the physical components of the wood - i stripped and sanded them then took them apart so that the resembled something else. the translucence of the video projected onto the sculpture made it performative and suggestive of the movement that was taking place.

 

making this piece helped me to think about communication and how we can communicate not only verbally.

exhibited in the international postcard show, this piece was documentation from a palet that i took apart and used to form new objects. the nails were rusty and totally unusable, but they were beautiful objects.



once used to support and fix together, these were discarded and dysfunctional.



i've been working with materials which interact with their environment and create their own fiction amongst other works. 



in a lot of my work, the notion of 'collapse' is prevalent. the plates that i installed are imitations of one which was already in the space, being used to conceal a hole in the floor. i inscribed words into the aluminium, but did so in a way that was illegible.

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the narrative is apparent, but is pronounced through a sense of futility.

 



we curated the show ourselves by responding to the space using sculpture and installation. ceri hand attended the show. 

the open submissions gives anyone the opportunity to exhibit work  in the crocus gallery. 



i submitted a piece which was a part of an earlier work i did, but in this environment, the bulbs served as once functional objects which i had tampered with to reveal a narrative.

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inside the bulbs were quotes and sentences, recorded from a conversation between my mother and grandmother, who suffers with Alzheimer's disease. 

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anyone entering the gallery was invited to 'encounter' the work.





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