Contact Us

Use the form on the right to contact us.

You can edit the text in this area, and change where the contact form on the right submits to, by entering edit mode using the modes on the bottom right. 

26A Sankt Hans Gade
København, 2200

(+45)5272-0133

Drawing windows since 1988. British visual artist based in Copenhagen traveling globally.

Artist Residency at CCA Andraxt, Mallorca. Studio Rojo. UNDERSTANDING PROCESS.

“WE ARE CAPABLE OF INFINITE LINES. FLICKERING BETWEEN LINES IN REBELLION AGAINST A UNIFIED STYLE IS TANTAMOUNT TO CONFUSION TO THOSE PEERING IN. HOWEVER, THE OPENING UP OF THESE NEW GATEWAYS IN OUR PRACTICES IS ESSENTIAL FOR THE CREATION OF NEW IMAGES.”

 

The determination to create NEW images is nothing new. However, there is a sense that this has been accelerated by the rate at which we are now experiencing images. Simply put, we are as individuals moving towards assimilation with the WWW. One session scrolling through my Instagram, Twitter or Facebook feed on any given day conjures images from the four corners of the globe; #miamibeach, #sydneyoperahouse, #yellowstone, #broadway, #akihabara, #burningman2016. My personal organic memories are becoming as significant as those I experience online. Of course REALITY TRUMPS ONLINE. However, there is something to be said about the fact that what I see ONLINE can prove as important to my imagination as something that I experience in REALITY. They can be. They sometimes manifest themselves in my dreams. Through images I have experienced online of #iceland, for example, I am enabled with the ability to dream about it, without my person ever being there. It's kind of like experiencing literature or a film, except the web proves to give a more PANORAMIC view of a place. I’ve never been to #iceland (not yet at least) but I’ve experienced countless different perspectives of the enchanted island - albeit through flat-screen devices. And so I am licensed to share the dreams of others. Voyeuristically skimming through the ‘memories’ (posts) of those whose accounts I follow, I too develop memories of #iceland.

 

Our smartphones enable us to take any part of reality we so wish and keep it in our pockets. Or at least that's how it feels. We are now able to cut, paste and filter reality as we wish – Snapchat every second of every day if we so please. This perception of what we are doing when we’re hunting and gathering online is down there somewhere in our subconscious. All the more so when we multiply this premise with the idea that we don’t necessarily have to experience things first-hand for our imaginations to take hold of them and manipulate them into dream matter. POKÉMON GO is something of an analogy for a process that is happening on a much grander scale. Into our pocket go memories, friends, textures, trees, songs, colours. Everything. Carefully chosen slices of reality that we believe, whether consciously or unconsciously, become a part of the fabric of our mind. We can collect all the reality we like. It’s illusory but satisfying.

 

“PUT THE PHONE DOWN”

 

THE NOTION THAT I AM EXCAVATING REALITY THIS WAY THROUGH MY FINGER TIPS HAS ALSO FED INTO THE WAY THAT I PERCEIVE DRAWING AND MY PROCESSES. Reflecting on the state of my imagination, and the internal processes that churn when creating images and drawing, I identified that my imagination was now informed by both organic and online experiences. And so I identified that it is in this space between REALITY and ONLINE that my search for new lines would commence.

 

“BUILDING A REALITY IN A WORLD WE’VE ALREADY SEEN AND TRUSTING NEW PROCESSES IN GETTING THERE.”

 

Though I had only a month to begin working through these premises, I was able to identify what was positive about perceiving the world in this way. I was able to locate what was vexing my practice; accepting that my imagination is stimulated both by organic reality and that which seeps through flat-screens. The studio floor became ALIVE with materials - also from the four corners of the globe; bits and pieces from India, USA, Denmark, Sweden, China and countless other places. Things I have collected along the way. The material lying there had been filtered in the same way that I select what to follow and unfollow. Moving through this material required more energy than scrolling in a downward motion using my thumb. Constantly reordering what I ‘liked’, ‘loved’ and ‘disliked’. In some way, the studio filled with an abundance of materials somehow appeased my mind. There was also an irony in the fact that much of this was made in CHINA, the epicentre of manufacturing. I was happier surrounded by all of this material than I would be in an empty studio. In my peripheral vision there were elements from all over the world freed from the vertical framework of newsfeeds. It felt familiar, all of this choice. There was a point when I felt that EQUILIBRIUM had been achieved. It was from this position that work commenced, experimenting and toying with expressions of an imagination redefined through my experiences online.