My practice encompasses sculpture, video and sound. I am interested in exploring boundaries of image and object, and how the fragmenting of narrative can offer new possibilities of discourse. I am interested in exploring noise – notions of communication as ‘failure’. In nostalgia; how our memories might change an event, a place, a person.
Working to explore the qualities of water and the boundaries of ‘self’ and ‘other’, I make sculpture, film, sound and performance. I have a strong commitment to figurative sculpture, and try multiple strategies to create work in this genre that reflects contemporary complexities and autobiographical concerns. Accident and breakages, found objects, words voicing stream of consciousness predicaments, cross over from the human to the non-human sphere.
My work seeks to find and build narrative within site-specific space, through the process of making. Using everyday materials, found imagery, painting and drawing, I explore journeys of memory, faith and change.
My work is focused on identity, memory and conflict, particularly the immutable line between Other and Self. In a widely multi-disciplinary practice that ranges between drawing, installation, and object-making to digital media and performance, I will often appropriate cultural artefacts of the Other; using story-telling tactics and subtle humour to remake a situation based on some kernel of truth, while allowing the viewer to create his or own narrative from these discrete elements.
My painting and performance came out of the idea of recycling and the possible consequences of bringing forth base sentiment into the world. This took the form of painting over old work and reforming words spoken, both self and externally generated. What was left seemed like irreducible base matter, but extruded and in shadow.
My practice is involved with gender, identity, and diaspora, in particular how this relates to post revolution Iranian women. At present my project is based upon a variety of women characters that I have come across since childhood. I work mainly in painting, video, photography and performance.
An artist/priest of Irish/Maori descent, my practice is based on the application of contemporary and traditional techniques and the morphing of different religious themes and symbols. All my work explores ideas of ritual, the sacred and profane with the intention of drawing the viewer into a conflicting realm of orthodox and chaos, puritan and pagan.
I work predominantly with paint. Testing the sliding scale of figuration and abstraction, my focus is how we perceive identity and change – encounters. Exploring the relationship between what we see and what we feel, the work invites the viewer to question their own perceptions, while hinting at a narrative, or capturing moments in the lives of others. The candid enquiry often exposes polarized, human states.
The site-specific work explores ideas of boundary and transgression. By awkwardly imposing into the exhibition space, the work forces an encounter with the viewer. Relationships with interior and exterior space are further explored and reinforced by the choices the viewer makes as he or she navigates the work in the exhibition space.
Curious about the marks we leave in and on one another … I explore connection. The effect of inheritance – biological, social, environmental – on the ability to connect. To touch and be touched. Witnessing the blocks in my own life, I try to expose them and work with what comes up. Exploring layers of defence that are no longer useful, I try to make work that reveals and challenges this false self in me, or seeks directly to connect with the other.
Using video and performance, my work explores the psychological conflict of power relations, the voices of inner turmoil and the concept of failure. Through my characters I play with absurdity, rebellion, submission and need for acceptance. My practice also involves installation work, costumes and props. I want the viewer to see through the eyes of the character or use the work as a mirror.
My piece ‘Milk’ is grounded in civil protest. The sculptures touch on future weaponry and the body, abstractions of the struggle. The paintings are of protestors doused in milk (to counter tear gas – a technique shared by protestors in Palestine with those in the #blacklivesmatter movement, protesting in Ferguson, Missouri). In this moment the subjects are ‘Housed’ in milk, a thin film of protection; these flimsy transitory shells play on how the secure safety implied by the word ‘Housed’ can be almost discarded or at least re-defined by those fighting for bigger ideas. The subjects are caught in that moment of agony that appears divine; a semi-religious state of ecstasy, linking the protestors’ cause with the sublime.
I document my immediate environment as a form of contemporary anthropology. As a recent immigrant, I observe and collect from a wide range of sources, be they people, places or situations, partly to fulfil my desire to root myself in this new society in London, and to validate my presence here. My background is in painting, but my work has evolved to encompass photography and live/recorded performance which incorporates me in public space, inhabiting a disadvantaged role in society and reflecting my immigrant background.
My making as an artist is an unbroken continuation of my making as a child – art as the evolution of play. Recent work has been influenced by the death of my father last year. My parents are Polish and my family history is one of displacement, loss and flight. I would say that the central theme of my enquiry is that of identity and my long-time preoccupation with formlessness, the border between abstraction and figuration, with becoming. The use of feet, shoes, and legs as a recurring motif in the work gives this fragment of the body a feeling of being more open-ended and equivocal than the entire figure.