‘My written and practical work is located within what might be described as the ‘geoaesthetics’ of creative practices. Put plainly, it is guided by an attention to the material and atmospheric qualities of the spaces in which artwork is made. This approach leans ‘non-representational’ approaches to understanding environments, something I have written about in the introduction to Non-Representational Theory and the Creative Arts (2019) and, most recently, in Scenes of Studio Practice (L’atelier mis en scènes), (2021).

 

Historically, my practice has been lens-based. Works often reflected histories of landscape representation and studio production, in which artists move matter between sites of observation and creation. Exhibitions of these works include Drawing Lines in The Sand (Peloton Gallery, Sydney),  The Art of Walking (WORK Gallery, London) & Temples to the Domestic II (Clifford Chance, London).

 

Whilst recent outputs have been focussed on writing rather than making, parallel developments in visual work have turned to drawing in an expanded sense. Emerging through sequential narratives and 3D modelling, these explore links between the image-objects of digital making and the atmospheric affect of the material and virtual environments of their creation. Drawing, here, is taken not as a metaphorical term within digital production, but a real and sensed experience.’