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Topography of Myth                                                                          Artist Statement June 2018

As a border walker I continue to examine previous notions around what we consciously perceive as fiction and myth, the personal phenomenological experience in unison with the liminal state, the collective unconscious in relation to the origin of cultural constructs … at times steeped in the psychogeomagickical, I attempt to explore notions of genius loci (spirit of place) the seen and unseen,  which contribute to mapping a forensics of transgressive happenings as essential to the human condition.

In combining the stratological unconscious with the lay of the land, my praxis continues to focus on notions of heterotopia, interweaving the bodily experience with elements of esoteric initiation while questioning the shifting relations between the sacred and the profane in both urban and rural environments.

Using a site specific methodology,  whether drifting or purposefully visiting/revisiting certain spaces,  I attempt to explore notions of genius loci, examining the topography of myth, how the inherently priemaeval connection with the land mirrors the veiled connection of my physical body with the heavenly bodies, specifically the sun and the moon. I’m intersted in using these ‘pseudo’ scientific elements to build a languge of being, to explore gnosis in relation to our environment.

More recent work has furthermore engaged with feminist notions of the personal as political, taking the standpoint of an ‘other’ regarding the visceral experience of the witch in relation to nature and site, this is interpreted through performative ritual, which in turn acts as a tool of resistance.

 

 

 

Anecdotal Evidence and Magickal Realisms                        Artist statement from 2012

My practice is intrinsically bound to the discourse around constructs of power, politics and personal free will, around questions of authenticity and authority, often considering the role of memory, place and perception in relation to concepts of origin or cultural norms.

Using sometimes overlooked areas of cultural histories, or otherness, as a starting point – whether physical hinterlands, lives of those on the perimeter or the murky area where the unconscious meets with the unexplained – I place them in relation to current structures of power and societal divisions.

This invariably leads to examination of the increasing alienation from others in society, and our environment – whether natural or urban, the continuing separation of folk knowledge, and how our access to ancestral and cultural understanding is manipulated by the media. I incorporate aspects of western esoteric thought into some of my work, as a valid tool for re-examining these issues rather than as a glib offering to current trends.

By incorporating aspects of ethnography, psychogeography and bricolage I attempt to question accepted thinking around myth and reality. My installations* being a collection of objects, an inventory of artefacts, some found, some fabricated. I interpret these as forensics from a collected cultural memory, archetypes and signifiers whose interpretation can alter according to the experience, belief and perception of the spectator, but the meaning remains the same.

* Human Nature, part II included an interactive performance Ritual which acted as a footnote to the props and artefacts within the installation.

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H u m a n N a t u r e ?                                                           2013/2014

the forensics of idealism suspended artefacts fabricated nostalgias

IN THE PAST WE ARE ALWAYS PRESENT

Human nature is an ongoing series of work exhibited in parts –

Part 1 – June 2013, Part 2 – September 2013

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Sanitary

Sanitary is a series of work relating to western societys psychological
relationship with the female body, how this relationship has been
controlled through historical use of language and the subsequent
alienation from our natural environment. Specifically relating to the
English Witch Trials, the causality between the persecutions of the
with the emergence of the land enclosure act and capitalism .
The trials thus used in a deliberate political act to control and undermine
the role of women in rural societies.

pure clean sanitary spotless unsullied unadulterated innocent virtuous

smutty soiled stained unclean indecent vulgar salacious profane
The human body, the blood, hair,
flesh in all its dirty glory, seems so alien to the constructed,
seems to mock the ordered, logical world of institutions and concrete
building, of manmade religions and controlling shame.

Whilst humankind struggle to
ignore their evolutionary roots, try to leave the wild subconscious
behind, to progress by building ever safer and sanitised false
environments, to wash away the past’ through form, function and
order, the body continues to be.

Technology moves forward with
civilisations, biological evolution continues, but, the social psyche
is somehow still stuck in the divisive aftermath of the witch trials
regarding the female body

Installation – porcelain, soap, hair, soil, branches, twigs

Bookworks – porcelain, soap and screenprint on found material,
(unwashed) 2013

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The carnival is over
text to a series of prints, projection and found objects from summer 2006

soundtrack – Kicking Against the Pricks, Nick Cave and the Bad Seeds

Transgressions occur through not necessarily conscious actions, the actuality of the event imagined through evidence left behind. These clues which, though ambiguous, serve to signify the frustrations, loss and alienation experienced through being. When the canival is over the human condition remains and all that relates, through growth, nature, animality, dirt and subsequent decay.