I wanted to use some of the analogue, paper-based work I make and see what I could do with it in a digital incarnation. This one is from a Tate brochure cover. I have used the outline of the dancer in various ways, here stained with dirty turps. Here traced and butted up to the … Continue reading From collage to digital
The themes of layering and reuse frequently come into play in my digital world. Likewise the motif of using/playing with things that I have a personal connection with: the Islamic tile pattern is from a book my brother gave me for Christmas which I just love. To note is this outlier, below, where I start … Continue reading First digital montages
It started with some photographs I'd taken in the noughties in Amseterdam during a lazy day in the park. I took a whole roll of transparencies (a considerable and completely blind investment back in the day) of people walking past on the path in front of me. I found the scans and thought of overlaying … Continue reading Stabilising
I have several fascinations: the Kennedy assassination, the Challenger disaster, Wallis Simpson, the moon landings, the Berlin Wall, just to get started. Being an artist means being able to explore these in approaches that are unique and meaningful to me. And that is a luxury considering my background as an Experience Designer where I had … Continue reading Minute moments
From the Rod Judkins encounter a takeaway was about whether, as an artist, you are an ideas person (e.g. Sophie Calle) or a process person (e.g. Peter Doig). I'm not sure you can be entirely one without the other but it was a helpful distinction. I started crashing things together in a process-oriented approach that … Continue reading Where did the Mad Hatters come from?
I took a course with Rod Judkins in 2019. I leave it for him to explain his approach in detail. In summary it amounts to crashing ideas together, using things that interest you. And to think while making (rather than design before making). He asks some medical students to create a virus (how prescient!) and … Continue reading Think like a virus
My paper collages make a concerted attempt to use up all my home-made papers (i.e. existing paper onto which I paint, stain, spill) and the contents of my 'for collage' box. Here I've used my discarded sublimation papers and stitch.
I was introduced to the wonders of sublimation printing (or dyeing) by the wonderful textile artist Cas Holmes. I developed what I learned into a multi-layer effect that looks like swimming in plant-entangled waters. I just love that you can never really manipulate the outcome, but that you can put enough thought into it to … Continue reading How to sublimation print
Do we still read these as they were intended? Are they still legs and cherry blossoms? What is the minimum shift needed to alter the interpretation? Our eyes are trained to see. How big does the shift need to be for us to see something new, different, unintended?
I used free-machine embroidery when I was deep into my textile work. This involves a particular type of 'foot' on my machine (a Bernina 1008) that allows for moving the fabric freely in any direction. I find it therapeutic to react to the immediate stitches just laid down, and to the texture and irregularities of … Continue reading Threads