Late October 2018 – Work in progress, machine parts for Playing at Change.
Mid October 2018 – New casting processes, times when only rubber will do …
October 2018 – New thoughts, transportation, travel & displacement(s) …
August 2018 – Today I made dust – lead dust. Thinking of these micro sarcophagi with the woodpeckers tap, tap tapping [nails] outside & listening to Messiaen’s Turangalîla-Symphonie //
Odd, this house used to be the estate undertakers & this studio the coffin workshop.
August 2018 – Studio image “Monuments to hollow [un]certainties” as we continue to build fictional futures & towers of indifference (fictions of ownership and progress, monuments to our collective stupidity).
Late July 2018 – Working on patterns, Monuments to hollow [un]certainties. Templates, micro-shuttering & studio images.
July 2018 – Work in progress, Habitation [dead weights]. Test cast from new modified & appropriated pattern.
Late June 2018 – Studio colour fixes & work in progress //
Late June 2018 – It’s the documenting, selecting & editing week [… those past times of contact sheets, chinagraph and Polaroid proofs, sighs].
Mid June 2018 – Away from the making //
June 2018 – Remnants of process, sand-casting negative spaces (from Cross Head Jack-ups).
Late May 2018 – Cutting joints for Trigger Points, and final works (studio images, pre-tarnished state)
Late May 2018 – Work in progress, Grey Planet [Cross Head jack-up]. Sand-cast lead, steel & aluminium from appropriated and modified pattern.
Late May 2018 – Light spilling into studio //
May 2018 – Colour fix and casting caps for Trigger Points //
Late April 2018 – Work in progress, Grey Planet [House on Back]. The weight of industrial progress //
April 2018 – Working on Trigger Points //
March / April – moving icons around desktop & finally installing electrics in Grey Planet series.
March 2018 – Strange to think of the anxieties and frustrations contained…
March 2018 – Moments in-between the making…
March 2018 – casting, recasting; repeat.
March 2018 – Today we start again, working in multiples of error.
January 2018 – Work in progress, Grey Planet [air-cooled life forms], initial test casts and finalising pattern.
December 2017 – Studio in Chiaroscuro, looking towards 2018 //
December 2017 – Work in progress, Grey Planet [air-cooled life forms]
Star | Lights Out anthroplastikos series (studio image 2017) Sand-cast lead from modified & appropriated plastic original, electronics (1/12 pre-tarnished state).
October 2017 – Work in progress, Star | Lights Out anthroplastikos series. Sand-cast lead from modified / appropriated plastic original, micro-electrics (sprue attached).
September 2017 – studio shot, A Squeeze on Words | Anthroplastikos series. Sand-cast lead from modified / appropriated plastic original, and time to tarnish.
September 2017 – The studio door & other distractions //
September 2017 – Work in progress, A Squeeze on Words | Anthroplastikos series (and a momentary glimpse of colour in my otherwise grey scale world).
August 2017 – The studio door & other distractions //
July 2017 – Work in progress, new processes, thoughts & directions //
June 2017 – Work in progress, Anthropocene [exit] series
April 2017 – Work in progress, InActions
March 2017 – Making a space work for work, casting & initial pieces //
February 2017 – Making a space work for work, new studio & refurbishment //
January 2017 – Making a space work for work, initial refurbishment //
The studio (a Victorian outbuilding) sits in a frost pocket and backs onto an overgrown drainage culvert which is a haven for wildlife. The first job was a thorough clean to remove years of grime and natural detritus and to then fix a tight budget to an even sharper time scale – no luxuriating in displacement activities. Insulation, internal roof linings and mould-proof paint then followed (of which I was sceptical) all completed whilst balancing on a precarious ladder spanning the void – no RAs needed! The main refurbishment was completed in February 2017, with benches and lightning in early March.
This new period of time will provide me with the opportunity to evaluate intensities of making, and to explore the distance between object, objectness and intention. This commitment to making is supported by my decision to quit teaching in September 2016, and to focus on practice full time. A practice in its formative stages of development is potentially vulnerable, being both critically fluid and prone to fantastic uncertainties – a status that I have found myself returning to.