Methods of researching, disseminating and re-purposing knowledge lie at the heart of my practice, the content of my projects being informed by interdisciplinary dialogue charged by socio-political concerns.
Previous projects have included exchanges with Orthodox iconographers (studying the traditional preparation of icon panels), a Canadian archaeoastronomer (who invited me to travel to a remote Pacific island to watch the final solar eclipse of the Mayan Calendar), and a collective of investigative journalists in Romania. My output includes drawing, painting, film, floor and furniture design, and a technique I developed involving engraving directly into gesso panels, then applying oil paint in order to reveal the composition. The surfaces of the panels bear many different marks; the traces of sanding, carefully etched lines, deeper gouges and painterly interventions. The conventional technique of printmaking is flipped, as the image bearer refuses to yield any copies of itself.
As information passes through a liminal space, it is subject to mistranslation, misinterpretation and manipulation. The fundamental intention of my practice is to explore the malleable nature of truth in the early years of the digital age, and what role or responsibility artists have in searching for or representing the idea of ‘truth’.
Represented by Kristin Hjellegjerde, London.
Victoria and Albert Museum, London
Hearst Corporation, Manhattan, New York
The Ashton Memorial Museum, Lancaster
Axisweb Artist Award 2017
Derwent Art Prize People's Choice Award 2016
Jealous Graduate Print Prize 2010
Derwent Art Prize 2016
Clifford Chance Printmaking Prize 2011
Saatchi's New Sensations 2010
Jerwood Drawing Prize 2010
Jerwood Drawing Prize 2009