For thirty years I have followed the same inquiry in different processes and materials: casting still-life objects from paintings, exploring pluralism through autoeroticism in lace drawings, crawling with trees on my back, walking and wasting marble dust from quarry to coast, rolling black plasticine clouds to materialise methane.
My interest is in paying attention to the overlooked, the disregarded, the invisible. Through attention, there is presence, and there is something wild, dangerous and radical in presence.
In theTrilogy: Earth, Seed, Peat, (2022- 26) I reject extraction and representation in favour of relational intimacy, “I do not extract or construct a narrative from the data; instead, I choose, perhaps radically, ‘merely to be with the data… as one visits a friend, with no intention other than to be with it’.” This methodology extends beyond data to all of the ecologies in the project: being with soil through durational drawing performances; being with seeds through improvised ensemble response to metabolomic data; being with peat through hole-punching, mark-making, and rolling black plasticine clouds that materialise methane emissions.
My practice is a reflection of the importance of process, using durational, site-responsive techniques to embody subjects to become an active participant in their transformation and revelation.