Describe your creative process.
I bring works into the fallible present by conducting experiments which open portals to perfect parallel universes where the objects already exist. Through meditative spatial thinking, I invite the building blocks of the raw material to collaborate with me in the process. Together we meditate on the stories of ghost ships, and the fates of their crews, and the monuments begin to appear. I then enter a conscious phase of editing and fine tuning. The process is deemed to have ended once the range of possible experimentations becomes locked in by the new grammar of the recently invented piece.
Who are some artists that have influenced your work?
Fiona Abicare, Hany Armanious, Damiano Bertoli, Bjork, Jessie Bullivant, Adam John Cullen, Juan Davila, Richard Deacon, Jarrah Dekuijer, Jordan Devlin, Nikolaus Dolman, Joel Elenberg, Bryan Ferry, Richard Giblett, Mira Gojak, Agatha Gothe Snape, Nathan Gray, Nick Grindrod, Richard Hamilton, Irene Hannenburgh, Brent Harris, Patrick Hartigan, Bill Hawkings, Patrick Heron, Mark Hilton, Eliza Hutchinson, Raafat Ishak, Susan Jacobs, Natasha Johns-Messenger, Jessica Johnson, Pat Larter, Jocelyn Lee, Nigel Lendon, John Meade, Joanna Mott, Adam Nathaniel Furman, John Nixon, Bryan Spier, Laurie Steer, Justin Trendall, Andrée van Schaik, Leon van Schaik, Daniel vonSturmer, Peter Waples Crowe, Rachel Whiteread, Oscar Yanez, Lisa Young.
What is the best piece of advice you have been given?
‘Very nice, do another’. Source: Richard Hamilton, from his teaching days at the Fine Art at King’s College, Newcastle in the late 1960’s. He believed that art does not exist in isolation, but in the practice of making, testing, and editing over time.
