‘Lines of Constraint (Hard Lines)’

“Psychological confines or physical confines, psychological space or physical space, psychological restraint or physical restraint, psychological constraint or physical constraint.  Lines or cracks, bars or barriers, link or connections. Hard or strong, impenetrable or unyielding, vulnerable or unlucky.  My work is about emotionand stories abstracted to create spaces and evoke atmospheres; the tensions between the public and the private.”

I am intrigued by the endless volatility of meaning and understanding: how our emotions dictate our behaviour and decisions and ultimately how we interpret and read the things we see.  How we, as individuals with different paths and ontologies, find ourselves influenced by our surroundings and emotions, making the same decisions and mistakes as those who have gone before, physically, intellectually and emotionally.

My practice is about emotion and stories abstracted to create spaces and evoke atmospheres; the tensions between the public and the private.  I usually work site-specifically, creating and inhabiting new spaces within other spaces, storytelling through whatever form I believe most suits both the space and the words I am working with; from performance, word, sound and film to sculpture, drawing and installation, the final outcome is always directly informed and influenced by the place and the process of making, installing and exhibiting in that space.

The method I use to make work starts with research, researching a word (confined), a story or a space. I explore the emotions around these things, my own emotional response and that of others.  This often leads me down unexpected paths and meanders culminating in responses and experiments that I have often not anticipated; a path of discovery, which I hope others will respond to, the private shown in a public forum.  That response, in that moment, may have nothing to do with the original emotions from which the work emerged, that enables the work to be made and that are contained within the work, but perhaps it is more interesting because of that.

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