After Winter, 2022
Hours Gallery, Bristol. A solo show to try out new wall-based pieces and installation work together. This new work brought together ideas and materials that I had been working with for the last two years, aiming to create delicate works that evoke feelings of fragility and connection. Works that carry emotional affect - especially through the use of colour and form. I see the larger waal-based works as a kind notice board, drawings and samples are pinned, not contained behind glass. They retain sense of potential for change, of nothing really being fixed. Thread is an ever present material and the image of the net is one that appears repeatedly. It’s function being multiple - a filter, a carrier, a trap. I think of it, and the flowers within the work, as a metaphors for our thoughts and memories. Petals move through the air, some pass through some are caught
The floor installation was completed in a few hours and was in place for the opening weekend. A wide range of materials took up space across the gallery floors. Slip-cast terracotta hands, wood, thread, wool, indigo-dyed cloth, burnt bramble root, turmeric, beetroot powder, soil, stones, roots, cast soil apples and pears, household paint, brass wire, dipped painted plants, magnolia flowers. A balance between control and chance, some poured in small piles - soil, dried dandelions, turmeric. Flowers dipped on paint and burnt bramble roots from the artist allotment. I see it as a sculptural representation of an interior world, the outside used to give a suggestion of what might be happening inside a person’s mind. The installation works always have a strong sense of provisionality, they would never be the same twice, even set up in the same space. They change according to my state of being during the particular time of making of them. I wanted capture the moments of vitality in the studio, where something falls into place and the materials sings - the moments where you feel most alive in the process of becoming, alongside the work.
Image credit: Dan Weill: