top of page

"Many of my works are composed in series, or are singular pieces of work made up of a number of small components.  These often break down into unassuming collections, suited to portablility via files and boxes.  They seem innocuous in their standardised containers, before being revealed in full on walls.  

I am thinking specifically of my two 'Black Walls' ('Yin & Yin'), my "Chit Parade", 'panic bought' vinyl records, "Top 40 Stylus Fluff" and 'soiled' blank postcards and envelopes." 

 

Two-dimensional work

"The Luton Tapestry" (2013) - 2585 x 45 cm

 

A 'tapestry' completed from expired office stationery, salvaged in the closure of a local office.  The work contains many personal papers belonging to the artist, which became redundant along with his position in a wages department.  These chosen sections represent less than two metres of a 29 metre long collage.

 

"I was surprised and excited to learn from my visit to Bayeaux, that the tapestry there is not actually a tapestry, but an embroidery.  Seeing the work as an example of a 'format', I decided to create a similarly biographical work based on my employment experiences.  

My tapestry is also not actually a 'tapestry' but a 'collage'."

"Vapour Trail" (2004) - 240 x 32.5 cm

 

Ten sheets of photocopied paper, folded back and forth in varying amounts, from one to 100 folds.

 

"Depressed by the abundance of material in art, I sought to create a small series featuring the progressive removal of matter from the picture surface, rather than the continuing application of it.  

Each fold of the paper wears out the toner of the photocopy, and the line diminishes through the picture.  This is not dissimilar to the vapour trails made by aeroplanes."

 

Sheets 1-10:   not folded, half-folded, x1, x2, x3, x5, x10, x25, x50, x100 folds.

 

 

"Run Out" series (2012) - 21 x 30 cm

 

Previously disposed of pens reclaimed to create their last actual marks via ruled lines on A4 paper.

 

Pens were removed from bins after the users had assumed that they were no longer functioning.  

 

"It was the challenge of creating work by using materials that people had assumed served no further function, that appealed to me.  

There is also a certain poignancy in seeing the exact moment of a metaphorical passing from the physical world, even if only a felt tip pen or biro."

"Luton Elbows" (2013) - 21 x 30 cm

 

A series of forty images of formica table-top wear and tear, caused by the rub of elbows in a Luton cafe.

 

"The interesting and humanistic aspect to these images is that the wear and tear on the Formica tops has been made by the sustained elbows of the clientele. 

It therefore signifies the act of boredom, impatience or ill-manners, or a combination of the three.  Weren’t we always told to remove our elbows from the table as children?"

 

In this series of photographs (of which there are 50 in total) the evidence of human habit is permanently set, not in stone but in a working class equivalent; Formica. 

It is worth considering that these marks have taken at least 40 years to manifest themselves.  The evidence of jaws being propped-up by the boney elbows of an impatient, bored or ill-mannered clientele.

" 'Yin & Yin' - (Black Walls)" (1998) - 336 x 445.5 cm and 210 x 297 cm

 

Two walls.  

The larger one made up of 240 sheets of A4 file paper, painted with black gloss paint.

The smaller, adjacent wall made from 80 A4 'blank' photocopies, coated in gloss varnish.

 

"The two 'yin and yang' style walls were constructed to form an environment of complimentary contradiction.  Yet both elements are identical, hence the 'Yin & Yin' label.

 

The main wall (the 'positive') is made of lined file paper.  

These lines have been obliterated by thick, gloss paint, in an act of physical mark-making.

 

The secondary smaller wall, almost identical in appearance, is the 'negative' version.  

This was created by leaving up the lid of a photocopier, which resulted in the 'copying' of the air immediately above it.  It is the copying of 'nothing', apart from two circular, white, paper 'chads' which represent the punched holes mirroring the lined paper of the main wall.  These chads were lined up precisely where the lined paper has its removed holes.

 

The reflective  quality of the finish absorbs the viewer within it.  A 'reception'.  It smells toxic, even 15 years after its production.

 

 

"The effect of being in front of the work is highly oppressive. However the underlying theme of the two walls together should paradoxically be that of harmony and balance, due to the 'yin and yang' effect of the walls collective components.

 

With the two walls appearing to be identical, there remains a threat to the technical harmony of the work, caused by the visually deceptive idea of there being two 'yins' and no 'yang' whatsoever."   

A selection of other works:

bottom of page