I make it because I have to.
My practice began as a reminiscent rekindling of traditional photographic practices, that pivot around emotional and socio-political concepts. I only ever make work that feels important to me, I’ve never been a trigger-happy shutter bug and I believe the themes that resonate with me have an elevated level of importance when coinciding with time consuming traditional rituals of silver gelatine. I feel in love with photography when I discarded my digital camera and emersed myself in the analogue. Materials, making, the tangible and the physical marry together to accent my contemporary discontent within the social justice context.
My work is an expression of my experience, it’s what matters to me.
When I no longer had access to the facilities needed to work in analogue I moved to the medium of moving image. I met a student at the Royal College of Art who put into words something I had never been able to realise about myself, that she found herself in a constant state of dissatisfaction for the still image, the photographic print, always feeling incomplete in the materiality. I believe that is why I connected with analogue, because it’s so much more than a trigger finger on a shutter, its chemistry, maths, art, a one of a kind, and its labour. Moving image however led me to reframe my feelings towards the digital. After some excellent advice to use the viewfinder as my canvas I realised its true potential.
What I have lost
What I have lost: Subtitles
What I have lost: Stills
The video ‘What I have Lost’ is a eulogy to the NHS. I present a patchwork quilt of moving image and sound that explores the cohesive dichotomy and comparative aspects I have felt throughout these past few years. The main sub-themes are my own distress and helplessness – from having a front row seat in watching the NHS starve and the parallels to my experience of bereavement and grief.
This virtual gallery is a digital interpretation of how I would have installed both my video’s in a gallery space.
I found that when communicating to a wider audience my explorations of loss, many people were uncomfortable with the discussion. As a result I began to think about ways I could make my practice more accessible. I found that comedy/ absurdity allowed people who didn’t feel comfortable with the subject matter a way in. The feedback I received from the video The Group, was “as a podcast the audio would have been difficult to listen too bordering on upsetting at times but due to the comic absurdity of hosting a group therapy session with plants, it made the subject matter watchable”.
This gallery space includes work from “What I have lost”- experimenting with direction of sound, as depicted by the interactive speaker variations, this is to replicate the use of vibration speakers in the exhibition space. My work is designed to be viewed intimately. What I have lost is intended to be viewed in a room with the capacity of only one person at a time. The use of vibration speakers is to intensify this immersive experience, so that the viewer hears the audio in their bones. We are all connected by mortality, it’s the only thing that is certain. I have made this installation as a reflective confrontation.
Supporting work: The Group
After a period of reflection I have concluded I will not be showing ‘The Group’ due to it not being same standard as ‘What I have Lost’.
However I wanted to continue to show it on this platform because I stand my judgement of it being an accessible alternative.
Artists Statement: I make it because I have to
What is your Artist’s Statement they ask? Like it’s so easy to sum up your practice in a few easy to digest sentences. What do I talk about? My concepts? My materials? My process?
Simply, I make it because I have to.