I am preoccupied with the notion of threat in various forms: the broader threats faced from terrorism, international and domestic conflict as well as a fascination with the latent threat of instruments - tools, weapons, objects literally and figuratively loaded with connotations. I explore these areas through printmaking and drawing, using the process to select elements, combine them and push them closer to that critical tipping point I am always in search of. I want to examine with particular scrutiny the structures in which we live and how we respond to recognizable things when subverted or obfuscated through artistic process. Part of the power of printmaking as a medium is its potential to reconfigure and reprocess a single image repeatedly to achieve different effects. As the world is in a state of constant upheaval it makes perfect sense to use this tangible lens by which things can be captured and recorded in physical layers to be later built upon or stripped back as required.
My degree work is preoccupied with execution and the formal and informal structures that lend it its strange, macabre sense of theatricality. Bound up in this were questions I wished to ask myself, as much as the viewer, about what it means to spectate or in some way have to witness scenes of authorized killing, and what the artist’s involvement in mediating this material can achieve. With it, I began to explore the methods by which these acts were committed and the means in which they are documented, opening up further avenues such as digital images, the physical residue of execution and the instruments themselves.
My time at Camberwell has left me with an extensive technical skillset within the field of etching and an interest in the other printmaking mediums that I am familliar with but demand further exploration. Now that I have these tools at my disposal, I wonder how I can turn them to answering the ever-growing body of questions about contemporary justice, spectatorship and mortality that my time working with my topic has uncovered. As my current practice sees me working primarily in etching, I have grown increasingly fascinated by the potential of metal itself as a medium for my artwork.