Artist Statement

2016 Artist StatementIMG_2646

Integrity not decoration

Insiders or Outsiders

Landscapes and Place

It is by being in the landscape; by being in that place that I am brought into dialogue with the complexities of identity; as artist, insider, outsider tourist and landscape’s own mythology.


It is this unstable and uncomfortable discourse of place, knowledge, cultural geographies, physical landscapes, commodification, consumption and colonization that is both an instrument and an effect of power, but also a hindrance, a stumbling block, a point of resistance and a starting point for an opposing strategy.


Research archive making liminal space uncertainty. place landscape dance Painting watching paint flow fluid dynamics improvised dance film/collage hill walking camping swimming growing vegetables Gertrude Stein Stan Brakhage Kyffin Williams Emil Nodle Pauline Rignal Paula Reago Floence Peake Donald Campbell Trisha Donnelly


Click to print out CdM CV jan 2016 art



2014 Artist Statement

Since starting at Sheffield Hallam University, South Yorkshire inn 2009, I have presented and shown photographic works, film, sound pieces, socially engaged community proposal, gardens, workshops with the media and friends, improvisational dance, argentine tango, paper collage, charcoal prints of the inside of plywood, watercolour still-lives and landscapes.


The last two years, I decided to concentrate on painting, and film, whilst still dancing and gardening. I have wanted to refine my skills with paint, aiming to articulate my own thoughts of what I see in landscapes and research. I have used film as collage to demonstrate my research methods.


The films arose from my interest in the syncretic and eclectic and have been influence by the writings of Gertrude Stein and Stan Brakhage. I want to be able to order my thinking into a linear narrative to be able to convey nuisances of my research and creative processes.


Material from my research archive (a digital record of material, intellectual or physical that I have found interesting and influencing) is reformed; intellectual and manual skills are juxtaposed to contain contradictions and agreements in layers of vision and sound. This is different to Painting. Painting contains the visible documentation (object) of a liminal making. In film, the mark, the gesture and the sound are present, but not the object.


This inductive type of research is grounded in the observations and data of the subjective reality of these events. By employing a qualitative mode of enquiry, asking why and how decisions are made, not just what or when, I hope to gain insight, and a rational justification for my studio practice. This is not to say that this reflection identifies a hierarchy of material or ideas. However, with time, I see that certain paintings, photographs, essays or videos ‘work’, whilst others don’t. However, I think Trisha Donnelly at the Serpentine, London, (Dec 2014) and Duncan Campbell’s It for Others may change this liminal space.


Initially I used discarded watercolour paintings to collage and paint over. The approach of understanding masterpieces through making is influenced by the 1995 exhibition at the National Gallery of Frank Auerbach and Gerhard Richter’s ‘Working after the Masters’.

However, I found that watercolour is quite unforgiving, and that paper is not robust.. Now I paint in oils. Mostly I use disarded plastic or aluminum signs that I have found. The signs are from NHS properties that have been rebranded, which is most apt given my career change and idea of art as symbols, metaphors and metonyms.


I paint landscape, looking far into the distance at twilight when near and far land and sky merge. I aim to keep Bomberg spirit of the mass intact, whilst keeping the paint liquid and free. From the close observation of living in the Highlands I paint the colours that I see, of bracken and mud, Aspen and bud; to the force and tickle of weather. I allow paint to be paint and for it to evolve into a landscape: To allow resistances, substance, tone and colour to show through.


Ehrenzweig, A. (1968). The Hidden Order of Art. Weidenfeld and Nicolson .

Elkins, J. (2000.). What paining is. Painting and Alchemy. Routledge.

Greenhill et al. 2001. ‘speaking & making’. ISBN 0946282927. Central Saint Martins College of Art & Design.

Gray, C. M. (1993). Appropriate Research Methodologies for ARatists, Desingers & Craftspersons: Research as a Learning Process. (E. W. Bunnell, Ed.)

Gray, C. M. (1993). Research Procedures/Methodology for Artists & Designers.

Haack, S. (2000). Manifesto of a Passionate Moderate: Unfashionable Essays . University of Chicago Press; 2nd edition.

Price, E. (2009). Sidekick. In L. M. Holdridge (Ed.), Innovations in Art and Design. Thinking throught art. Reflections on art as Research. Routledge.


Personal Statement 2013.

Some wait for a story to come to them.

Others, like me, are born into a narrative, are born into a landscape.

This landscape, with its hints of both Raes and Bosch, twists and turns.

It involutes into my inner sanctum.

This Landscape recedes to the far,

far distance it takes on a bucolic idly.

The pastoral is contrasted by the foreground

awash with precious detritus.

The becoming of either is in an endless corridor of doors: All

the same.

It is my view.

The parts are accurate.

The sum of these parts may or may not be inaccurate.

The individual votive may be convoluted.

The simplified form is the same.

January 2013


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