My work is a visual diary projecting intimate parcels of self-reflection into specifically highlighted details of current social concern. Using paint and filmed performance to illuminate the ordinary and make it extraordinary, I enjoy working perceptively to construct surreal worlds as intuitive responses to familiar perceptions of our world’s personality. I love finding what resonates as something ‘familiar’ within people, and then subtly introducing obscure, hairline inconsistencies, turning the everyday into the unexpected.
I depict social statements through an emotive lens, with the purpose of cultivating sentiments of empathy toward the affected societal sector being placed in the critical spotlight. My focus is on stripping prevelant points of contention down to their most basic foundations, humanizing the subject of discussion.
I’m also a firm believer in the notion that everything happens for a reason, applying this concept to every calculated brushstroke and each premeditated moment on film.
There was a point in time that I needed to believe in this concept, for survival. Three years ago, my life radically changed for the better in the form of a hospital admission to a psychiatric ward. As inauspicious as it sounds, this single event manifested itself into the most invaluably rewarding experience I’ve ever had.
Fear, anger, sorrow, pain, guilt and shame; directly confronting the sectors of the psyche societally regarded as aversive can feel like a pilgrimage in reverse, but it’s a crucial prerequisite for the healing of the soul.
Having found solace, my life has been discernibly split in to two parts; then and now.
Through my work I revisit the razing emotions from that ‘past life’ that almost destroyed who I was. Vehement sprawling threads of despair and incendiary imprecations of self-hatred streaming in red and black shards at one tailing end. Delicately woven, creamy sentiments of unfeigned tenderness and self-compassionate vulnerability on the other. It is this juxtaposition that I’m interested in. Visuals that console and devastate in the same breath, always approaching these contradictions with subtle but stern sensibility.
Launching visceral intimacies directly to the public sphere forces a confrontation between my public and private persona, two selves commonly considered as distinctively disparate in recent times thanks to the global influx of social media and the alluring avenue it has paved towards inauthentic, illusionary perceptions of people’s lives.
If everything happens for a reason, I place confidence in the belief that my newly acquired understanding of what it means to be self-compassionate, self-aware and my new-found ability to speak inwardly with affection will serve to touch another who truly needs an empathetic embrace.
Historically, I have been influenced by performance artists of the 70s such as Vito Acconci, Chris Burden, Gunter Brus and Bruce Nauman. My most notable influence however is through the work of Valie Export, and the women of her time who championed the blazing wave of feminist performance art from its inception in the 50s to the present day. The likes of Chantal Akermann, Eleanor Antin, Ana Mendieta, Martha Rosler and Maya Deren. Protagonists of extraordinary cinema Andrei Tarkovsky and Bela Tarr have also been of discernible significance to the provenance of my love of narrative film, and I’m currently in the process of preparing the production of my own feature length film.