The visual interpretation of personal domestic space and the ordinary stuff of daily life has been the consistent pursuit of my practice. I am fascinated by our relationship with the spaces that frame and objects that fill the majority of daily lives, and yet, are overlooked as we move through our daily routines in a state of inattentional blindness.
I begin by making photographic records. A visual occurrence that startles me out of my routine relationship with objects and spaces prompts the image choice. The gathering of images results in a visual archive of the ephemeral moments linked by a sense of the uncanny or a spatial déjà vu. Drawing on this source, I then build suites of prints or artist’s books that offer the viewer a sense of the strangely familiar.
My chosen media plays a large role both in the way it translates the subject matter and in the effect of the presentation. Photogravure is a historical photo/intaglio process dating from 1879. The interaction of ink and paper has a tactile and physical presence but also evokes a state of photographic memory. Photogravure prints are difficult to categorize as a medium. They are simultaneously an intaglio print and photograph. This media can be described as on the threshold, paralleling my thematic focus. The artist’s book affords me the opportunity to integrate a variety of printing methodologies and sequential structures in a form that provides the viewer with intimate interaction with the work.
Helen Macdonald writes in H is for Hawk “You are exercising what the poet Keats called your chameleon quality, the ability to “tolerate a loss of self and a loss of rationality by trusting in the capacity to recreate oneself in another character or environment”. She states “this feat of imaginative recreation has always come easily to me. Too Easily. It’s part of being a watcher, forgetting who you are and putting yourself in the thing you are watching.”