Every artist needs an Artist’s statement, so here is mine.
From a belief that the function of art is to resolve conflicts — both internal and within a field of enquiry — my creative practice is concerned with the materialisation of psychoanalytic ideas through a variety of different techniques. Having undergone interdisciplinary training in Spain, Portugal and the UK, I have produced paintings, sculptures, videos, photographs and sound installations. For my master’s degree, I decided to specialize in drawing, concentrating on its a reflexive attitude rather than understanding it as a choice of materials or an exploratory discipline culminating in other mediums.
My current work develops these concerns further, as I work through issues by using a self-reflexive approach to making work. I applied this methodology to study seduction for my doctoral degree and I am currently developing a practice that involves an exploration of hysteria through concentrating on what the hysteric’s body knows. This involves movement practice and the introduction of film and photographic cameras into the dance studio, not as documentation, but as a witness to the experience of the hysteric dancer.
Dance and Performance
Since finishing my PhD in 2010, I have been involved in a project exploring the body of the hysteric and how this yields knowledge. I plan to develop a dance video piece from this work, for which I am training, mainly in contemporary dance. As part of this, I joined Dance House Community Company, with whom I create and perform. I also work and perform with Ruth Mills Dance. In September 2012, I performed with the Michael Clark Company as part of the Barrowlands Project. Below are some photographic documentation, videos and texts related to the work I have developed with these artists and choreographers.
I was trained as a painter and a sculptor but seduction, the subject of my research, tricked me. The only way to escape its power was to photograph it so, for my PhD I took a medium format camera out with me to my shopping trips in Glasgow, London and New York. This was not the first time I had used this technique, an SLR camera was my companion during the year I studied in Portugal. Images of my practice-led investigation have been shown at the End Gallery in May 2008, and, more recently, at the Grace and Fyfe Gallery (2010) and the Glue Factory (2011), in Glasgow.
I have a very particular relationship to the object world. I work in different media, but I photograph, draw, animate and exhibit primarily as a sculture. Everything I do, including psychoanalysis, is a quest after the object. My PhD research on seductive works of art and my masters dissertation, entitled What is Precarious Art? circle around this preocupation.
My masters degree was in drawing, a technique open enough to allow a variety of others. I couldn’t commit at that time in my life, mainly because I didn’t know how to combine my writing and art practices. Exploring the visual aspects of text on the page and some textual elements in artworks helped. And, of course, drawing is a fantatic medium to investigate relationships to objects of desire. Ah, the times I have stood with my sketchbook in front of a shop window…
Sound and video
My explorations into sound and the moving image have always been a matter of attitude, rather than technique. I find there’s something exploratory about them, somewhere where I can get lost and forget about the outcome…
[…] the subject can never be anything other than divided, split, alienated from himself […]. The split is irreducible, can never be healed; there’s no possibility of synthesis.
Evans, D (1996) Introductory Dictionary of Lacanian psychoanalysis. London: Routledge, p. 192
flip, v. 1 turn over or cause to turn over with a quick, smooth movement. 2 toss (something) into the air so that it turns over. 3 (flip through) flick through. 4 informal, suddenly become deranged or very angry.
Concise Oxford English Dictionary, Tenth edition, revised in 2002 and edited by Judy Pearsall
B (bijou video), 2006. 2 mins 38 secs
Here’s a selection of some of of the exhibitions I have participated in. This House Has been far out at sea was part of my investigation into hysteria, a topic I have been thinking about since To all the lovers and sweethearts we will never meet.