Taking the portrait as a starting point for my research, I have been looking at the transition between, or dissolution of, subject to object – in particular, the point at which the two converge. I have been investigating the idea of the documented face, the collected face, face as specimen and face as artefact, examining the degrees of difference between identification and identity.
Material resonance and manipulation are fundamental to my practice: charcoal powder or chalk dust, wax, plaster, smudges, erasure, inadvertent marks, traces and evidence of making. Through this approach, I hope to capture the essential elements that might describe something more than just surface appearance, and go some way towards describing the activity of looking, perception and memory.
I would like my artworks to articulate a consideration of the relationship between process and completion, and of the viewer’s role in interpretation. The selection of transient materials like charcoal powder and non-archival drawing surfaces, such as newsprint, reflects a conscious decision to employ mediums that embody temporality and fragility. With an awareness of my grounding in observational, figurative drawing, I have been testing the parameters of my practice; measuring how far I can pull away from what I know, whilst still retaining a connection – even if that connection is a trace. By moving from what I know, I hope to discover what I don’t know: possibility co-existing with actuality.