Internment

Antarctica 2005
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

icebreaker 2006
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

Illegal Photo (Monochrome Orange #1) 2006
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

Illegal Photo (Monochrome Orange #2) 2006
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

internment # 4 (pencil sharpener) 2006
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

Let it be me 2005
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

The Lookout 2007
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

The Winter of our discontent 2006
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

towing 2005
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

untitled (classified # 1) 2006
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

untitled (IC # 2) 2006
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

untitled (IC # 3) 2005
pure pigment inks on 100% cotton rag
Edition of 6 + 1 AP

Cornelia
pure pigment inks on 100% cotton rag

Departures
pure pigment inks on 100% cotton rag

Illegal Photo (Orange Paint)
pure pigment inks on 100% cotton rag

Internment #2
pure pigment inks on 100% cotton rag

Internment #3
pure pigment inks on 100% cotton rag

Luggage Check
pure pigment inks on 100% cotton rag

On the plane
pure pigment inks on 100% cotton rag

Tarmac Early Morning
pure pigment inks on 100% cotton rag

Towing Blr
pure pigment inks on 100% cotton rag

Untitled (Classified #2)
pure pigment inks on 100% cotton rag

Untitled IC #1
pure pigment inks on 100% cotton rag

INTERNMENT

7 June – 7 June 2006

My work is made by photographing installations of found objects. I am interested in the implied narrative and visual illusion that can occur when found manufactured objects are placed together. My current body of work, Internment, images physical and personal spaces suggestive of the relationship between institutional power and personal vulnerability.

Although constructed, my photographs are not digitally manipulated. The 'stuff' of my work is placed in a relationship in real time and space and takes advantage of the estrangement inherent associations, context, scale and accident that occurs in my process to create visual sensation.

I locate my work within the practice of painting and read my images in the genres of history painting, landscape and portraiture. I photograph in a low-tech painterly way. This includes making gestures and creating illusion and spatial depth. An object may be placed as a loose brushstroke or a mark, an impression of something else. I use the material stuff of life as literal or conceptual signifiers. The uncertainty of what you are looking at literally and representationally enables visual and conceptual complexity.

As with painting, I like to work with the pleasurable tension between the credulity of the illusion and the simplicity of the gesture of the found object. The simplicity and improbability of sunlight on a curtain for an Antarctic coast, a spoon for a view, a capsule bubble for an aeroplane window, crinkled cloth for the sea, a CD spindle for a baggage conveyor...

Stuff. Household items, packaging, toys, souvenirs, cloth, paper, plastic bags, shaving cream, bluetac, light. Used like a broad brush in the moment. Evidence of the hand of an artist. A free association with objects.