My work is a direct response to the Moorland environment that I have been soaked in since childhood; the total immersion has heightened my awareness of the personal space we occupy as individuals.
Releasing me from the constraints of a static view point the vast space, the peat, the path and the challenging environment are gateways for my thoughts.
Right from the cave drawings of Lascaux to the land artists of the 20th century and on into the current century we have explored the relationship we have with our environment revealing how we shape our surroundings and in turn how it shapes us.
With an understanding of this but not subservient to it I attempt to pick up this line of continuity and along with a intuitive approach I paint, build, burn, rub, and scratch in order to align myself with all its creative possibilities.
My use of self produced mediums such as charcoal, lime wash, beewax and beeswax oil crayons further galvanises action and thought and in turn raises its own questions about process and its relevance/importance to the artists responses.
-New Vic Theatre
-Vagabond Fires "Thats how it Begins" CD artwork 2017
-Vagabond Fires "Songs of The Wilderness" CD artwork 2018
Group exhibitions /Event
-prior 2007 Box Delights/ Englands Gallery London
-2007 Delicate Situations/Online exhibition/ http://delicatesituations.blogspot.co.uk/2007/12/u...
-Play/AirSpace, Stoke-on-Trent -Pecha Kucha Night/FatCat Cafe and Bar/Co-organiser/Performer/Stoke-on-Trent 2009
-Inter?ogation/Walsall New Art Gallery/Sept 2009 Collaborative with artist Bernard Charnley.
-Marina Abramovich/participant /Whitworth Gallery/Manchester/2009
-Aftermath/AirSpace studio artists/Leek Institute, Leek/2009
Common Ground/AirSpace public art exhibition/Hanley Park Stoke-on-Trent/June 2010
-Kiss Me Quick/Harbour Arm Gallery/Margate/2011
Statement to: 'The Chrome Hill Project' Exhibition, Buxton Museum and Art Gallery...
Chrome Hill and the surrounding area revealed itself to be a palimpsest of interventions where traces of the Carboniferous period were overlaid with natural changes and the much later human activity.
I considered the ongoing change, the constant movement, nature’s turning over of material like that of a plough.
Lime, lead and earth were used and along with bees wax, ink and earth pigments, three strands of work started to develop: Mapping, Growth and Erosion.
Working direct from that around me I responded intuitively, metaphorically and physically to climb its heights and enter its caverns and caves following its rills, creases and folds to map its makeup.
Within the hills of Chrome hill and Parkhouse hill the body is pressed on all sides to register on the senses a kind of negative. From this pressed engagement the Growth Series emerged.
The Erosion series takes the heavy bruised paper and fugitive marks to form another response to the changing escarpment and our relationship with it.
Change was also the focus for the buried books which began as standard work books before being buried. The time spent in the earth changed their condition as they took on the state of objecthood; locking time inside them like that of the many lime stone reef fossils found in the surrounding hills.
Finally the lead bowl response was a reworking process to follow the lead veins where the shallow ore lies along with the minerals that have been exploited in and around this area over time.
Formulating an idea of oneself within this environment the work overall aims to convey that we are not separate from our surroundings but simply a contributing dynamic to the whole.