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Artist's statement

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I am a London-based artist who mostly creates site-specific installations concerned with the process of creation and with the idea of a work regenerating itself endlessly. I feel a work of art should be generous, give away it's making, reveal its tactical shifts, contradict and defeat itself and constantly find new forms from different types of expression which are suggested by the artist’s own self-criticism or by sources such as other works of art or discussions of artistic aims or method.

 

I draw ideas from institutional critique being aware of the limitations which it imposes and of the suppression of artistic emotions and new concepts to which its austerity tends to lead. Instead, I try to negotiate with the presuppositions and methods of art criticism; I treat it as a source of information or possible images and forms, with which I can conduct a dialogue if necessary.

 

I should point out here that the work recognises the language of the gallery and the part that my work can play within that language. I am preoccupied with a constant self-challenge so as to move towards a more complete understanding.

 

Practically speaking, my work can take a form as subtle as a white line stuck to the floor which can go unnoticed or create effective boundaries with a different artwork, or sometimes more assertively with a camera and the sound of a printer suggesting infinite additions to the artwork. I am constantly guided by the language of the gallery space, the implicit boundaries which it sets up, trying to define them and to experiment with them and maybe shift them, acknowledging that the work itself finds itself within the internal boundaries of this space.

Lately, I have been interested in more physical materials like clay. I have used these plastic materials in compositions were I contrast them with solid, stiff geometric objects like plinths. These heavy geometric objects, are supporting mechanisms of an artwork in space but are also demanding towards the artwork asking it to follow certain guidelines. I have places the plastic forms in between plinths to both emphasise the support the gallery provides to a work but also the suppression it imposes.

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