Remnants of a Lost Intention (2020) is an online display of artwork created in the final months of a 2 year artist residency at Cobham Hall School. The work is split into three galleries categorised by their discipline: ‘Works on Paper’, ‘Sculptural Installations’ and ‘Digitally Completed’. The artwork in this exhibition stems from research on a multitude of subjects; each focusing on different forms of expression and communication. Not only with people, but with places.
Some of the earliest art discovered is also the earliest form of communication - visual. Cave paintings date back to around 40,000 BC when ancient societies would use natural pigments to paint symbols, leave a mark, making contact with others. Similarly the oldest texts (Sumerian cuneiform or Egyptian hieroglyphs both around 3000 - 3500BC) are formed from characters made up of signs and pictures. Through the evolution of mankind our ways of communicating have changed but our need to express have not. We may have lost the original meanings behind the symbols, but the marks left behind by our ancestors have remained after thousands of years.
With this in mind, the work shown displays a visual language of expression. Using mark making and texture to express and evoke emotions with no fitting title. These feelings are often fleeting, ambiguous and quiet. They don’t scream but they murmur.
The artwork as a whole is the end result of a slow, ongoing process. This begins with theoretical and artistic research. Then whilst exploring my surroundings, finding and collecting unremarkable materials, chosen for their aesthetically tactile qualities. Translucent fabrics, deteriorating objects. They are overlooked, unappreciated but beautiful in their form and texture.
After selectively accumulating research and materials, the processes start to unfold. I work experimentally and intuitively to manipulate what has been gathered, always responding to the object at hand. Calling attention to the organic, fragile qualities within each piece. They are texturally exciting, teased to be touched. They hold a movement still, capture a fleeting moment, and reframe discarded materials in a fresh light.
Similar to the ancient text and cave art, the 'meanings' may be lost in translation. But that is not what is important. The physical action that takes place in creating each piece remains present. Through the work I am able to communicate in a different way with the viewer. A language of texture, of interaction.
Just as with the rest of my work, the longer you spend with it the easier it becomes to translate. However, although personal to me, by its nature the work is subjective. So, I ask you to be still. To be quiet. To spend time with the details that I find so captivating.
What feelings does it evoke in you? If it does at all.