Discovering Traces

Friday 12th July, 2019

Discovering Traces

Discovering Traces, 2019, Mixed media on Woven polypropylene

This work has been made from a process which connected both layering and removing techniques and actions. My objective was to investigate into the characteristics of each technique and action I used. I illustrated my findings through the use of Red, Yellow, White and Black High Gloss paint.

Discovering Traces evolved from a Pre – Existing artwork where I was keen to highlight the narratives which were built into the surface from the objects past history. I just wanted to add new active gestures in order to exaggerate what was previously seen. 


Discovering Traces (Close up – photos)

To Layer means(The single thickness of some substance, as a cover or coating on a surface). Podbielski, John. (2000). Features of the dictionary, P317. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

To Remove means – (To take away or get rid of). Podbielski, John. (2000). Features of the dictionary, P468. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

When I removed existing marks and traces found on the surface by layering, I found myself in a constant battle of not really knowing what I was doing when in this act of making. I was in a consistent mode of questioning and reflecting of what was happening before me. Reflection was most important as this helped me interpret and emerge new themes and ideas. being creative was the most important thing, as without this reflection could not materialise. Relection is what helps stimulate the working process enabling new possibilities.

What I was trying to do was make new things which were increasingly more and more difficult to capture. It is always important to me to work with materials which are disimliar, where I can never have a pre – understanding / evaluation of what might materialise.

Other motifs which I wanted to capture

  • To Install a growth within the surface.
  • To illustrate a journey which tests my own visual capacity.
  • Working with advanced operations and systems.
  • Working with a process which has already been consumed, only this time distorting the act of fabricating.
  •  Displaying the act of removing as something which can produce an exciting emotion.

Discovering Traces (Close up – photos)



Lee Krasner Living Colour – at the Barbican Centre, London – 30th May – 1st September, 2019

Wednesday 12th June, 2019 

Krasner Intro

Introduction to Lee Krasner – Living Colour

It was many years ago when I first discovered the artist Lee Krasner, I think I was studying on my BA in Fine art possibly in my second year. At the time I was heavily influenced by the works of Abstract Expressionist artists and in particular Jackson pollock, this was when I was first introduced to Krasner’s work as she was the wife to pollock. I remember reading an article which featured Pollock’s impressive large scaled paintings, it was his no fear attitude when working with materials which always excited me, combining elements of chance with a precision thoughtfulness technique. It was this technique orchestrated by Pollock (Known as ‘Action painting’) which is still recognized around the world today.

Although I respected and still respect Pollock’s work I was more interested in researching into artists who fell short of public fame and was less noticed, Lee Krasner and her work became the ideal artist for me to start exploring.

When I first heard about this exhibition arriving to London I knew I had to go and relive the excitement I first experienced all those years ago. Although this time I will see Krasner’s impressive masterpieces up front and in the flesh.

   Embrace, 1956, Oil on Canvas

The exhibition was curated on two floors and you were firstly directed to the first floor which is where the exhibition began. The whole exhibition was incredible as it gave me a chance to fully understand the diversity of Krasner’s practice, however there were a few series of works which impacted on me more greatly. The first series works which I have termed the ‘Prophecy Series’ caught my attention, it was the technique Krasner used when working with the paint on the canvas, big dominating loops, fleshy like forms, lined with black with accents of pink made me think of a dislocated distorted human body. The works had beautiful aspects of colour with an added grotesque like form, these works instantly made me think of one of my other favourite artists Francis Bacon. This series began with the piece titled Prophecy before three other works: Birth, Embrace and Three in Two, all works were created during a time when Krasner was under considerable strain due to her relationship collapse with Jackson Pollock. The works are very dark and give a true insight into the struggles Krasner must have been facing. Krasner was once asked about her determination and focus to paint, Krasner responded by saying ‘Painting is not separate from life. It is one. It is like asking – do I want to live? My answer is yes – and I paint.’ 

   Blue Level, 1955, Oil, Paper and Burlap collage on Canvas

The next work which caught my eye was Blue Level a work which Krasner produced out of spontaneity, a development which evolved from a despondent feeling. One day Krasner walked into her studio and tore all her drawings up it was this act of aggression which led to something exciting. The cut strewn shreds became the beginning of a series of collages, a mixed media enforced technique which resulted in works depicting the organic which was made from a subconscious action achieved from the artist herself. It is brilliant to know that Krasner firstly never knew she had created something which was greatly appreciated. These works hold a subtle sense of disorder incorporated within a well performed process.

   Stop and Go, 1949 – 50, Oil and Enamel on panel 

Stop and Go emerged from a series known as ‘Little Images’ which was produced in a make shift studio where Krasner had transformed her upstairs bedroom into a work space. Krasner was constructing vibrant abstractions which looked at introducing rhythm to the composition. Paint was layered with a palette knife and worked into with a stiff paintbrush. Stop and Go made me think of my works in particular my Contained Information works because I work with a similar process, uniting opposing colours together in order to achieve the best possible visual abstracted look. Although the paint I apply looks non – uniformed there has been a calculated action which derives from a Systematic Operation.

Franz West Indoor Sculptures – at the Omer Tiroche Gallery – 1st March – 7th June, 2019

Friday 7th June, 2019

Franz west - Omer Tiroche 1

Poster Design (Meeting Points – Royal Botanical Garden 1, Skulptur), 2002 – 2005, Acrylic, Glossaire paint, Digital print on foamcore 

The first time I saw Franz West’s work in the flesh was in June 2018 at the Gagosian Gallery , Davies Street, London. The exhibition presented three large Papier-mache sculptures paying respect to his Sisyphos sculptural series.

What attracted me to West’s work and in particular his work on show here at the Omer Tiroche Gallery, was his approach to manipulate materials and imagery in order to examine art’s relation to life and collective experiences. With much diversity in his practice producing collages and interactive sculptures to tables, seating and abstracted forms, his work provided a focus on the tensions and integration between the public audience all which considers the controlled behaviors and impulsive actions of the body, demanding the viewers intervention rather than their observation.

Franz west - Omer Tiroche 5

Untitled, 2007, Acrylic, Epoxy resin, Papier-mache, Wood and Plastic bucket

In my work I always try to conduct an activity which can offer the audience an opportunity to experience the intensive exercise I exert when working into the surface. I always want the audience to relive this where they start to inherit the same journey I took when constructing each piece. Another interesting aspect I always try to connect with my work – large or small, is this composed configuration between formal architectural qualities and Anti – formal uncertainties which develop from a spontaneous Systematic Operation.

    Image 1 – Primary Scientific Time Data (PSTD #2), 2018, 199 x 257 cm, Paulin, Dirt, Sand, Cement, Tanking slurry, PVA admix adhesive, Concentrated sugar soap, Varnish, Gloss, Emulsion paint, Matt paint, Gloss paint

Image 2 – Primary Scientific Time Data (PSTD #1) & Primary Scientific Time Data (PSTD #3) – Fine Art MA Degree Show at the University Creative Arts, Farnham, Surrey

Image 3Contained Information #2, 2018, 20 x 20 x 2 cm, Glass, Natural pine constructed frame, Paulin, Tanking slurry, Plaster, Stain varnish, PVA admix adhesive, Matt paint, Enamel paint   

Image 1 – Untitled, 2007, Acrylic, Epoxy resin, Papier-mache, Wood and Plastic bucket (Close up)

Image 2 – Untitled, 2010, Papier-mache, Acrylic, Lacquer, Gauze and Steel on Artist’s metal table

The importance of colour, form and function is visually evident in West’s work, but what I also find intriguing was his subtle use of language which provides a range of interesting contexts. One other feature I really like in West’s work is this incorporation of Punk aesthetics, where he playfully transformed mundane found objects into sculptures, where the familiar starts to become unfamiliar.

Microcrystalline Trace

   Microcrystalline Trace, 2011, Canvas, Microcrystalline wax, Acrylic 

My work carries similar connotations to West’s work where a no care attitude to selected materials can be witnessed, a no fear attitude to breaking the rules, and instead dancing with chance and risk is the goal. I believe West and I share unique Punk aesthetics which are complex, a look which is designed to disrupt and cause a stir and spark conversation in order to gain immediate attention.

‘From ArtCan With Love’ – ArtCan Postcard Exhibition, at The Fitzrovia Gallery – Wednesday 5th June, 2019

Thursday 6th June, 2019 

Operating and Organising Colour

Operating & Organising Colour, 2019, 10 x 15 cm, Cotton canvas, Cement, Plaster, Paraffin wax, Microcrystalline wax, Interior varnish, Industrial gloss, Ink, Enamel paint 

‘From ArtCan With Love’ was a fundraising exhibition formulated by the excellent arts organisation ArtCan –

It was a one night only exhibition of new works by ArtCan artists and Trustees. All works in the exhibition were postcard – sized and created specifically for this show. All works were priced at a very affordable £40, and buyers were able to take the works away once purchased.

I was extremely pleased to see that my piece was sold!

Fitzrovia 2

I was really looking forward to this exhibition because it was to be my first exhibition with ArtCan, and I was also displaying a piece which displayed new processes, techniques and methods all which focused on the importance of the grid.

I believe this grid format helped me to control me energy consumption, and as a result each squared area on the surface stored information as beautiful forms. I chose to use the grid as a predetermined ordering structure which I decided to follow and disrupt.

 I worked with the limitless potential which the grid suggested, this included inspiring meditations on colour, spirituality, form, and the act of art – making itself. I also found that using the grid provided me with a tremendous opportunity to explore colour relations and move colour around once colour was applied, the grid became a tool to fix and freeze all motion of colour.

  (‘From ArtCan With Love’ – Opening night at The Fitzrovia Gallery, London – 5th June, 2019) 


Contained Information #6

Friday 24th May, 2019

Contained Information #6

Contained Information #6, 2019, Glass, Natural pine constructed frame, Greyboard, Cement, Plaster, Polyfilla, Varnish, Gloss, Matt paint, Enamel paint

One aspect I want to include within my ‘Contained Information Series’ works is how to become more precise, and rigorous when documenting the transformed surface. I have deliberately designed a system which exaggerates my skills of perfection. This can be seen in the works due to myself capturing and then imprinting every shift and crease which has formed on the surface. I find myself scrutinizing the surface trying to make sense of what has happened once it has been taken out of the formulated system which is known as the ‘Unknown working process’. I find myself acting like a scientist where I conduct this experimental exercise, this is linked to applied scientific methods and techniques which leads to an intense investigation.

Contained Information #6 (Close up – photos)

Exaggerate can also mean – (Regard or represent as greater than is true), ( To make greater or more noticeable). Podbielski, John. (2000). Features of the dictionary, P193. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Forensic can also mean – (Used in or connected with courts of law). Podbielski, John. (2000). Features of the dictionary, P221. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Science can also mean – (A systematic study with links to skill, technique and knowledge). Podbielski, John. (2000). Features of the dictionary, P493. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

An Exaggerated Forensic Approach

The adjective forensic describes scientific methods used to investigate crimes. Although I am not trying to solve a crime, my approach to documenting involves similar characteristics which are used in forensic science, as I work with methods and techniques which helps to clarify a set of results.

I work with an invented collective examination or analysis of physical evidence, which helps to bring findings and results from a discovery.

When you describe something as ‘Forensic’ it usually means it has to do with finding evidence in order to solve a problem. A Forensic Scientist specializes in either crime scene investigations or laboratory analysis, where they record observations, take photos and collect evidence. When I think of the process I work with it certainly connects as I firstly create a process which is termed an ‘Unknown working process’ this is when I take advantage of materials and surfaces, deliberately setting up a system which acts like an arena where all the materials and surfaces collide and fight with one another. – (I could be seen as consciously provoking a battle – which could lead to devastation – Resulting in a crime). Once the Re – formed surface is taking out of the arena I start to investigate it’s new identity. (This is achieved by investigating, documenting and recording this new change, evidence is detected through the application of brightly coloured paints which marks the objects new existence).

Contained Information #6 - pic 5

Contained Information #6 (Close up – photo)


Contained Information #5

Wednesday 01st May, 2019

Contained Information #5

Contained Information #5, 2019, Glass, Natural pine constructed frame, Wood pulp virgin fibre sack paper, Nylon string, Tanking slurry, Cement, Plaster, Varnish, Gloss, Matt paint, Enamel paint

This piece interlinks two subjects the first is the ‘Significant Form’ and the second is beauty. I wanted to display a correlation between both subject matters where they express their individual strengths. By connecting more than one subject or idea, the work starts to open up a conversation.

The surface becomes inspired by this act of processing – Proposing the question:

‘How has this surface come about and what is it trying to say?’ 

Contained Information #5 (Close up – photos)

Significant can also mean – (Important), (Expressing a meaning). Podbielski, John. (2000). Features of the dictionary, P512. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Form can also mean – (Shape or apperance), (The mode in which something appears). Podbielski, John. (2000). Features of the dictionary, P222. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

So when you attach both meanings together it represents something known as the ‘Significant Form’.

The ‘Significant Form’

In the words of art writer Clive Bell (1881 -1964) The ‘Significant Form’ is a particular combination of lines and colours that stir our aesthetic emotions.

One reason why I was so keen to link the meaning of the ‘Significant Form’ to my making is because I see a comparison in the works I create. I see my works as expressions which have arrived from eclectic manifested processes, techniques, subjects and ideas. Instead of a deep rooted exact meaning the works are more about, the lines and colours drawing the viewer to the work creating an emotional sensory experience.

I also see my works as beautiful objective forms where the design impacts upon the importance of how the surface evolves. Responding to the objects design seems to satisfiy the viewers emotional imagination, meaning that any proposed theory becomes not so important.

Contained Information #5 (Close up – photos)

Beauty can also mean – (A combination of all the qualities of a thing that delights the senses and the mind). Podbielski, John. (2000). Features of the dictionary, P47. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain 

The Beauty Seen In My Work

Everyone likes beauty and constantly searches for it within a piece of artwork. I try to give the viewer an experience of pure visual pleasure by formulating and organising colour in a very particular way, where I connect opposing colours which enables and provides the surface with a powerful visual quality.

Other Motifs of Beauty which are connected to my work Includes

  • Tying in an awkwardness and oddness of beauty – when something starts a transition of becoming something else.
  •  Expressing not the most conventional form of beauty and instead evoking suggestions of weird beauty, tragic beauty, pop beauty –  A link to the virus of beauty.
  • Beauty within the surprise of colour – Instead of combining associated colours I deliberately work with the harmony of linking opposing colours in order to gain the most beautiful visual impact to the design.
  •  Distorted Beauty – Radicalizing the beauty where a material and element becomes something new. A Re – Invention of a familiar material.
  • Beauty is less considered in art  – But I am trying to convert this thought by bringing value back to the term ‘Beauty’ – The colours used in my works are strong but have been subtlety orchestrated.  I want the colours in my work to have that ‘POP’ like feeling, where the work stands up and knocks the viewer out.

Beauty is in the eye of the Beholder


FLUX Exhibition – At The National Army Museum, Chelsea, London. Thursday 14th March – Sunday 17th March 2019

Monday 18th March, 2019 

FLUX Exhibition - March 2019 - pic 1.jpg

                               Installation photo of my works on show at FLUX Exhibition                                 (Private View opening – (Thursday 14th March, 2019)  

FLUX Exhibition displayed four of my Contained works (From the Contained series) for the first time. I was really excited to see them presented together as I had not yet seen this. What was most intriguing about this exhibition was the not knowing of how my works were to be presented.

I delivered the works to the museum on Tuesday 12th March, 2019, and would then not see them until the exhibition opened on Thursday 14th March 2019.  Founder of FLUX Lisa Gray and her curatorial team decided on the positioning of every work which featured in the show. I have mentioned before in previous posts about the necessity to include factors of chance, risk taking and the not knowing in the making of my works, so finding myself on a daily basis consumed by never ending possibilities made this requirement easy to accept.

Other subjects which coincide with my practice are Form and Order and the Anti-Form and Chaos. In the process of my making I design systems and operations which are linked to game playing . I work and live within the moment and relish the discovery of surprise, so I was wondering what avenue Lisa and her team, would take when displaying my work. Would it be presented in a straight uniformed layout, representing Form and Order in numerical chronological order for example – Contained Information #1, #2 and #3 or would the work be seen as more disorganized where each piece is scattered across the wall describing the Anti – Form and elements of Chaos, with no numerical sequence for example – Contained Information #1, #3 and #2 .

The Chosen Presentation Went:

Contained Information #3 – Contained Information #1 – Contained Information #2

FLUX Exhibition - March 2019 - pic 4.JPG

Contained Information #3, 2018, Glass, Natural pine constructed frame, Plastic, Canvas, Paulin, Nylon string, Oil pastels, Charcoal, Tanking slurry, Cement, Plaster, PVA admix adhesive, Matt paint, Enamel paint

FLUX Exhibition - March 2019 - pic 3.JPG

Contained Information #1, 2018, Glass, Natural pine constructed frame, Canvas, Oil paint, Cement, PVA admix adhesive, Matt paint, Enamel paint

FLUX Exhibition - March 2019 - pic 2.JPG

Contained Information #2, 2018, Glass, Natural pine constructed frame, Paulin, Tanking slurry, Plaster, Stain varnish, PVA admix adhesive, Matt paint, Enamel paint

FLUX Exhibition (Mini Masterpiece Wall)

FLUX Exhibition - March 2019 - pic 5.JPG

Contained Information #4, 2019, Glass, Natural pine constructed frame, Canvas, Acrylic, Dirt, Cement, Plaster, Cuprinol, Varnish, Gloss, Matt paint, Enamel paint                         (Presented on the Mini Masterpiece Wall)

Although the Mini Masterpieces were exhibited in the National Army Museum in conjunction with FLUX Exhibition, it felt like the wall was separate and away from the exhibition, almost as if the wall was hosting its own show. The aim was to feature unique smaller artworks which could be purchased at a cheaper cost, opposed to the artworks which were featured in the main exhibition.

All artists were given the opportunity to display a work and participate in the Mini Masterpiece Wall, it was an offer I accepted straight away as not only did it give me another option of presenting an extra artwork, it gave me a further chance to experiment with this continuous series.


(Private View Opening – Thursday 14th March 2019)

Contained Information #4

Friday 08th March, 2019

Contained Information #4

Contained Information #4, 2019, Glass, Natural pine constructed frame, Canvas, Acrylic, Dirt, Cement, Plaster, Cuprinol, Varnish, Gloss, Matt paint, Enamel paint

In my practice I like to challenge myself when making my works, whether this is collaborating with dissimilar materials or provoking an impact between space and colour. One area I had not explored was a drastic change in scale.  

Scale can also mean – (A reference in making measurements), (Ratio of size between a thing and a representation of it). – Podbielski, John. (2000). Features of the dictionary, P491. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Contained Information #4 is the first Contained piece which represents the smallest sized work within this series. I wanted to reduce the scale because I was interested in testing my working methods, techniques and processes.

  •  Questions I asked myself which I wanted to explore were: –

Do objects which are smaller in size warrant more protection and care?

Do smaller scaled objects gain more appreciation? 

Would the audience, viewer, buyer, owner, prefer the craftsmanship in a work which has been constructed on a smaller scale, opposed to a work which is larger in scale? 



Contained Information #4 (Close up – photos)




Remnants from Ewhurst, Surrey

Friday 01st March, 2019

Thursday 28th February, 2019 marked the opening of my solo show – Remnants from Ewhurst, Surrey.

The show will be open:

Monday – Friday – 9am – 10pm

Saturday and Sunday – 10am – 6pm 

The last day of the show is on Tuesday 19th March, 2019


Photos which show the Private View evening at The Old Diorama Arts Centre Gallery (Thursday 28th February, 2019)

On the 7th January, 2019 I started a two month artist in residency at The Old Diorama Arts Centre, which led to a solo show featuring all works which I constructed within the time I was there. It was the most fantastic experience where I learnt a lot about myself as an artist, as I was confronted with new challenges leading to unexpected evolutions within my work.

This post will provide information of the research and writings I was looking at, which advanced to new concepts, techniques and process which I infused within my work.  

Old Diorama - Solo show - Pic 3

Remnant #1, (From the Remnants from Ewhurst series) – 2019 – 36 x 36 x 53.3 cm – Treated sawn wood constructed frame, Low density polyethylene plastic, Cement, Dirt, Brown paper, Varnish, Clear gloss, Acrylic paint

Why Remnants? Where did this word / idea come from, and how would this link in with this series of works?

Remnant – (Small piece), (Left over) (A surviving trace). – Podbielski, John. (2000). Features of the dictionary, P468. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

On Wednesday 12th September, 2018 I started a building job consisting of laying two large foundation bases. I was supporting my Dad on a job in Ewhurst, Surrey. It was a mammoth job which would span over a time period of four weeks. I don’t know how many bags of cement, sharp sand, building sand, ballast we must of gone through and I would not want to put a number to it, but what caught my attention was the amount of excess packaging left on site. I said to my Dad, “What do you plan on doing with the packaging”, his reply was “I guess we will have to skip it”. This instantly struck a chord with me I thought this can not happen, firstly I was thinking where on earth will it all go, Landfill? and secondly I was thinking how can I infuse this into my art practice, how can I keep the packaging and how can I give it a purpose, and a value which it once had. Surely it is not all about the contents inside, sure the cement is important but what about the packaging, it went through a meticulous process in order to arrive as we know it. I was interested in refiguring the products look, how can I make this product exciting and appealing but through a new context. How could this become an interesting and thought provoking work of art?

Initial Themes I started to look at

  • Recycling
  • Materialization, Transforming, Converting
  • Process & Technique
  • Preserving
  • Making something out of nothing
  • Re – Introducing
  • The past – The present – The future
  • Time lapses & Time restraints
  • Transforming for the better not the worse
  • A contrasting effect between decay and beauty
  • Non – Importance becoming Important
  •  Deconstructing – Constructing
  • Sub – conscious thinking
  • The familiar becoming the Unfamiliar
  • Order vs Chaos
  • Colour impact
  • Form vs Anti – Form


LeftRemnant #2, (From the Remnants from Ewhurst series) – 2019 – 33 x 26.5 cm – Natural pine constructed frame, Low density polyethylene plastic, Sharp sand, Dirt, Varnish, Clear gloss, Acrylic paint

Right – Remnant #3, (From the Remnants from Ewhurst series) – 2019 – 28 x 35.7 cm – Natural pine constructed frame, Low density polyethylene plastic, Shingle sand, Dirt, Varnish, Clear gloss, Acrylic paint

Bottom – Remnant #4, (From the Remnants from Ewhurst series) – 2019 – 32.5 x 31.5 cm – Natural pine constructed frame, Low density polyethylene plastic, White parish building sand, Dirt, Varnish, Clear gloss, Acrylic paint

Themes I took a real focus on for this series of works

Form vs The Anti – Form

We often carry around with us a mental rectangle where we can drop it around whatever we are doing. It is this which makes us feel at home, at ease and with a sense of control. 


  • Arrangement = A wholeness which = A total configuration (A process of evolution)


Anti – Form

  • How to get rid of the rectangle = How to live by chaos – A feeling of recklessness = Living by chance (Living for the moment)


A good reason why we are all squares (Forms) is because we find it easier to read subjects through squares. For example: A rectangular magazine – A publication – A photograph.  Reading in this way seems to make sense to us, as our movements become more familiar because we live in a world dominated by the straight edge.

I like to play with the idea of combing the straight edge with the crooked edge.

I have had enough of the politeness in things! What excites me is seeing the chaos evolve from underneath, where it takes you out of a controlled state and puts you in a situation of the unexpected!  

It is the Anti – Form which abstracts the meaning of form.

I set myself an objective to work with an object which was originally whole and formal. This object then collapses and breaks down, where the straight edge starts to disappear. I then wanted to make this object full and perfect again, but built through operations and new systems.

I wanted to work with materials and surfaces which had differences, whether they were fragile, soft, robust or hard. All installed within irregular properties. I wanted to investigate this meaning of irregularity, by understanding the constructed patterns which proposed a sense of knowing.

  • I amplified the many possibilities which were made.
  • But could the Anti – Form actually mean Anti geometry?

Other Conclusions made between The Form vs The Anti Form  

  • The stable vs the Unstable
  • The open vs The Closed
  • The Regular vs The organic
  • The Real vs The ideal



Left – Remnant #5, (From the Remnants from Ewhurst series) – 2019 – 64 x 64 x 88 cm – Treated sawn wood constructed frame, Low density polyethylene plastic, Cement, Sharp sand, Dirt, Varnish, Clear gloss, Acrylic paint

Right – Remnant #7, (From the Remnants from Ewhurst series) – 2019 – 43.5 x 62.1 cm – Natural pine constructed frame, Low density polyethylene plastic, Cement, Shingle sand, Dirt, Brown paper, Varnish, Clear gloss, Acrylic paint

Principles of Colour

Focusing on the contrasting values in colour allows us to enhance our visual capacity of looking!

Contrasting Colours

  • Draws our attention to a particular object.

Remnants #2, #3, #4, #6 and #7 illustrates maximum hue contrast in the colours value. The works draws instant attention because the surface has a contrasting value which is more settled.

However Hue contrasts in colour can be easily overused which can create visual clutter. I deliberately used this in Remnants #1, #5 and #8, I wanted to visually describe the chaotic approach used within my practice, and in particular this series of works.

In the show the works have real dynamism because they are not settled, the surface is not settled, meaning the media is not settled, meaning the space becomes unsettled.

Colour Design

I worked with three dimensions of colour:

  • Hue – The colours name – For example: Red, Yellow, Blue
  • Value – The lightness or darkness in the colour
  • Chroma – Describes the colourfulness how vivid it is.

I wanted to created maximum colour impact so I deliberately worked with the paint straight from the tube, in order to get the colours true pigment and correct chroma.


Left – Remnant #6, (From the Remnants from Ewhurst series) – 2019 – 43.4 x 61 cm – Natural pine constructed frame, Low density polyethylene plastic, Shingle sand, White parish building sand, Dirt, Varnish, Clear gloss, Acrylic paint

Right – Remnant #8, (From the Remnants from Ewhurst series) – 2019 – 43.5 x 62.1 cm – Treated sawn wood constructed frame, Low density polyethylene plastic, Cement, Shingle sand, White parish building sand, Dirt, Varnish, Clear gloss, Acrylic paint



I was keen to transform the architectural shape of the gallery. I wanted to create a spatial environment. 

  • Spatial meaning – A relation to the space we are in, and a relation to the positioning of objects in space.
  • Spatial Area – Relating to the occupying of space – Testing the capacity of space.
  • Spatial Form – The physicality of an object or the materials situated in a given space.
  • Spatial Relationship –  How an object is located in space.

I wanted to insert all spatial areas within the show. To do this I purposely worked with formal formats and Anti – Form formats. What I mean by this is:

  1. Positioning my work in a traditional uniformed space                             VS
  2. Positioning my work in challenging, transformative suggestion of space, where human relations could become complicated, meaning viewers start to question their exact relation to the space they are in.









Talking Point – ‘A WatWei Show’

Tuesday 12th February, 2019

A fascinating experience into the digitalised world of art

Talking Point Show - pic 2

Venue for the showLethaby Gallery, 1 Granary Square, Kings Cross, London N1C 4AA

Curators of the show – Rory Watson & Tyler Prior


Is the Digital impacting on the Artworld?

Watson and Prior also known as WatWei – Their objective was to kick start a conversation about how art is seen today.

My phone and The Talking Point WatWei programme – were the only tools used to navigate myself around the gallery

Throughout the show many questions were raised which sparked an interesting debate about the curatorial purposes, and what is now meant by the meaning of art. Below lists some of these fascinating thoughts:

  • Is the work on show still my work / the artists work / or does the work now belong to someone else?


  • Does the gallery loose part of its meaning?


  • An amazing experience – Being able to show your work in a gallery without the hassle of any installment.


  • A strong trust between artist and curator emerges, as the artist gives 100% control to the curator, as they decided how the work was to be seen.

Talking Point Show - pic 11.JPG
What was most unusual was seeing many people walking around a gallery with their phone right up to their faces. A scene you would expect to see in a busy town or city , but in a gallery?

  • I always felt viewing art in a gallery gave you the chance to have a personal moment. Where you could have that real time of corresponding with the works. This show changed it for me as I was experiencing the show with 20 to 30 other people, all close together hovering over each others phone trying to make sense of what was on the screen.

The strongest question I kept asking myself was – What really is a gallery? – Could it be the same as – what is an artists studio? 

  • An artists studio does not have to be an elaborate huge space, instead it could be a dinning room, a bedroom, a garden. As long as that space gives you access and allows you to get the job done, it is deemed the perfect space.

Could this be the same for the gallery?

  • I believe that in time there will be more and more art shows taking place in houses, shops, carparks, public transport and phones, opposed to well lit clean and tidy white cubed spaces.

Art just needs an audience and space!  

So why did I apply for this show?

I was keen to challenge myself and my work. I wanted to come away from the usual clean white cubed space where my work is often displayed.  My works are sculptural paintings where the 3 Dimensional is crucial, it is important that this is seen because it enables the audience to see the materialization between artist and material and technique and process.

I wanted to see if the phone / the digital could capture the essence of my making and do justice for my work. There were no guidelines about the show or what to expect, this did not make me nervous instead it filled me with excitement. I have always played with aspects of chance and the unknown so I was looking forward to seeing what the show had in store for me.

Talking Point Show - pic 7.JPG

Remnant #3 (From the Remnants of Ewhurst series) displayed in the exhibition.

What were my final thoughts on the show, and did I feel my work fitted in with the context of the show?

The idea of viewing art on your phone is great! More and more often apps like Instagram allow you to view artworks which you might never get to see in person. It also gives the artist a chance for their work to be seen by a large audience.

It was a brilliant experience and one I would do again but probably not displaying my own works. I realised that my work needs to be seen in person in the flesh, where the audience can really get inside the work, getting to see the process, and the obsessive nature of documentation which is imprinted into the surface.

Art professor Cynthia Freeland wrote an intriguing piece of text on Digitizing and Disseminating art

Freeland, Cynthia. (2001). A Democracy of images, P177 – 178. But is it art?. Publishers: Oxford University Press. Printed in New York

Everyone knows what the Mona Lisa and Michelangelo’s David look like – or do we? Artworks become reproduced so often we may feel we know them even if we have never been to Paris or Florence.

Art reproductions are ubiquitous!

We can now sit in our pyjamas while enjoying virtual tours of galleries and museums. around the world.

It is not just visual art that has been made more widely accessible by new technologies of reproduction. Operas, plays, and ballet performances are regularly broadcast on TV, leaving the concert symphony halls vacant.

Human experiences of art have been significantly changed in this postmodern age of the internet, videos, CDs, advertising, postcards, and posters. But for good or ill?