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capsule belongings

Nida Art Colony, Nida, Lithuania
2018


How does the home affect creative thought. What is the impact of the home on socialising, on imagination, on play, in making communities, on our compassion and on our political agency? What is the relationship between homes and introversion? Can extroversion be weaponised as a political tool? How collage can adjust the boundary between documentation and activity, editing to bring together images that blur reality and fiction, physical and virtual, possible and impossible.

capsule belongings explores the storage, collection and acumulation of objects in space travel. How do we create our own festivals and celebrations with limited resources. How do we consider our belongings in a home with limited materials and space? Can we make space for sentimentallity, for hoarding, for nick-nacks, for presents and decorations, and other material gesturers? Consider the furniture of the earth such as sofa beds and stackable chairs as nostalgiac, regard the amassing of a collection of objects even trash as luxourious, and embellish the selection of ready meals availible in the supermarket as opulent.










Demelza

Watts

fingers crossed

17five.net, London, UK
2018


First, a barricade formed out of the contents of the curators living room, provides both a wall to separate the space and a host for moments of collage. A sculpture of accumulation, a mass of burden, a play with belongings, a fort, a den, a homage to childhood folly, a reminder of storage nightmares, a defence.

“I wish”  a collage containing an image of fingers crossed behind ones back, a moment or hope, or the escape in telling a lie? A childhood gesture so physical and bound within our muscle memory that it can even provide comfort years later once long alienated from belief and trust. A folded up paper containing forgotten treasures.

The video “My laptop is my home, the screen is my view” a window to a form of nomadic living; brought on by unreliable landlords, rising living costs, expanding cities, shrinking worlds, zero hour contracts, the reliability of mum and dad’s house, a rejection of nationality, a loss of identity?








                                  





free time

Silicon Malley, Lausanne, Switzerland.
2017


The four finances Mortgage, Student loans, Inheritence and Overdraft face you eye to eye, your feet grounded, theirs in the sky.

Placards or for sale signs carry insignias of comfort, home improvement, solutions to rental problems, unwanted gifts, ugly shortcuts, aesthetic ignorances, cheap thrills, conscientious design ideas, signs of care.

Lighting overhead counts up repeatedly 1, 2, 3, 4, 5, 6, 7, 8, again, again, again...



 


Vêtements
mortgage /  scarenter / hypothèque
Midway Contemporary Art, Minneapolis / Silicone Malley, Lausanne, Switzerland / DOC, Paris, France 
2015 - onwards



Wear it

Own it

“I’m so proud of it, I put my name on it.”

scarenter for sale


“For all your mortgage needs.”








All in a day, Brian

Whitechapel Gallery, London and the Royal College of Art, London
2015

“I was looking to find some middle ground between the artist as a performer and the artist as an employer, exploring being an artist as employment at the same time. Collaboration is a great place to explore this, I wondered how many lines I could blur or ideas I could layer up in a collaboration/delegated performance/artist performing conglomeration. This is how I came to the idea of working with one or both of my parents. Parents are physically and emotionally linked to you, an intimate connection is perceived if not evident, but they are also, of course, separate people with identities outside of the parent titles. So at this point, I thought of my fathers work. My father Brian has been a bricklayer since he was sixteen, studying bricklaying at college in the mid-1970s. Something that has been evident to me since a young child is that he believes in bricklaying, in the same way that I believe in art. My father's craft is becoming less valued over the years, which translates to there being less paid work, what was once the primary building method in the UK is now being replaced by faster, cheaper and less craft lead methods.

So this seemed to be an interesting collaboration, for me to work as an artist and for Brian to work as a bricklayer. This is how “All in a Day, Brian” came to form. I developed the concept, to ask my father to build the tallest brick wall he could in eight hours, his typical working day. My father designed it, a single wythe, stretcher bond, wall, that steps up in opposite directions from each end to support its height. We intertwined all of the processes, from concept through to execution. I helped with the pointing (the finishing of the cement in-between the bricks). Brian titled the work, a role that as the Bricklayer he never gets to do. Architects and homeowners name houses, not the workers. I made the materials list, which frustrated some critics, unable to understand how Brian could be a coauthor of the piece with me and also be listed as “8 hours of my fathers time” in the materials list. For me the materials list illustrates the dichotomy of my relationship with Brian, we collaborate as an artist and a bricklayer, at the same time as a daughter and a father. So as the bricklayer Brian built the wall, and as the artist, I applied for an opportunity to exhibit it.”