20:22 plaster aluminium, acrylic 102 x 100.5 x 82 cm 2022. photo: Article Studio
I cast about 2000 fingers in plaster, invoking the practice of taking a likeness via the death mask. The casts carry a detailed translation of surface: individual finger prints, and capture a moment of transition. The fingers , which are almost all mine, are reproduced as multiple anthropomorphic forms, gesturing upward and facing forward in crowded and silent isolation. They represent touch and feel and the sensitive membrane between an individual and everything else. I also understand the language of the digit as numerical time and date. 20:22 was made over the final year of my father's life when things were too slippery and overwhelming to articulate in words.
PARENT BODY rolling pin, nails 18cm x 7cm 2023
VOODOO MUM rolling pin, dressmakers pins 18cm x 7cm 2023
OUT OF SORTS wood, human teeth, golf tees 10cm x 4cm x 4cm 2023
RADIO HEAD found materials 24cm x 20cm x 10cm 2023
POTATO MASHER (I Do Not Miss You) bat, fishing wire, metal 40cm x 6cm 2023
WILL POWER found ceramic, cork, wire 7cm x 9cm x 4cm 2023
MURIEL wood, paint, ceramic, metal, bakelite, plastic, rubber, pencil 24cm x 9cm x 7cm 2023
FULL AUDIO EXPERIENCE wood, pins, paint, radio parts 9cm x 14cm x5cm + variable 2023
All works above are available as Giclée prints on Hahnemühle etching paper on available works page. photos: Article Studio
DROP series of 5 resin cast plastic detritus 11cm x 11cm x 15cm each 2020 photo: Mike Garlick
My mother once stopped her car and picked up some rubbish that had been thrown out of the car in front. The story goes that she followed the car back to a house on the edge of town, knocked on the door and handed back the rubbish, saying that she thought the driver had dropped something. She could have been punched in the face. I don’t know what really happened but I like the story. My mother never got particularly riled by anything, except religion, which she was not at all in favour of, so this story impressed me much. I’ve been picking up other peoples rubbish for years.
INERTIA at INCENDIARY curated by Patricia Brien SVA Stroud 2019 photo: Mike Garlick