I have been very busy of late and my current work is in a state of incompletion, so I am glad to have just completed a video to accompany a small sculptural work for the interim Summer show at Camberwell. Its simplicity has given me the space to think about a deep level aspect of what I am doing. The narrative in the words of the scrolling text are deliberately anachronistic. I worked on the few words in various versions: directed in the you and I form, playing with tenses, making the content more or less personal. Finally I ended in the place where my instincts had led me to start; with the intention to distance myself from the subject whilst bringing it into direct contact with me in the present as I reflect on its future set in the past. Bringing together the deep past, present and future is very much what my research statement is about albeit taking a narrow field of view. It is interesting how this synchronicity occurs from time to time.
Four digital prints I submitted to the 2 Girls Gallery ‘Impromptu’ show. They are mouse drawings. That means I drew them using an old mouse. I like this technique because of the difficulty of controlling the mouse as opposed to the ease of use of a pad and stylus. This friction creates a tension between what I want to draw and what is possible. The space that lies between the two tells me something of how striving for perfection is conditional to the means and circumstances. The analysis required is in contrast with the poietic maelstrom involved in working with sodden earth. It is where I can stand back and consider a different aspect of the source of what I do.
The technique of drawing with a mouse I see as embodying that continual striving for perfection by imperfect means that characterises humanity: by necessity flaws become the paradigm. And it is this process of turning one’s shortcomings into something of real affecting power where the magic of process lies.
I originally thought of presenting photographs which had been digitally altered, coloured. However, I was dissatisfied with the results. I have often found that combining digital marks with photographs whether analogue or not, does not give me a good sense. I am not talking about manipulating a photographic image or set of images in which case the material sources are of the same kind. This is exemplified in the work of an artist that Jonathan suggested I look at. Emily Allchurch creates imaginary landscapes based on old master paintings using a library of photographs she has compiled. She works with source material of the same kind and treats it in the same way: there is an inherent coherency here. I am rather referring to adding, superimposing, layering digital marks to photographic images: sources of a different kind. There is always something to be said for breaking rules and mish-mashing but I have found that this approach only works for me when what I am doing has a graphic design This I find only works when the sought after outcome is primarily one that resides in the area of graphic design… and then not always. This is something I would ordinarily leave to someone else who has affinity and experience in this domain.