7.9.20 Notes on Statement for MF003
8 weeks at home, 8 weeks at Locksbrook.
Me, myself I: As a maker, fabrication is an essential part of my practice. I realise that most of my investigations in materials and making are driven by a desire to represent aspects of being human, of my Self, and consequently of those aspects I have in common with my viewer. For many years I have had a sense of ‘otherness’ within my self, of multiple selves which make up the whole of me. My sculptural explorations are attempts to embody, or fabricate, these different selves, this sense of fragmentation and balance.
‘The most important boundary of all is the one separating ourselves from the outside world—the self from the non-self—because it is this boundary which establishes at the deepest level what should and should not be familiar.’ Baird, p6, 2013
In a culture of screen based selfies- some snaps taken with a phone, capturing a fleeting moment or memory, others, painstakingly edited to project an image – it is possibly curious to decide to use labour intensive processes to create my self portraits, but somehow the time taken to make something, the involvement of my hands and body-all of me-, and the materials I choose are vital and all bring different subtleties of meaning to my work. I don’t ever actually use a mirror in fact. Instead I rely on memory, heavily influenced by imagination. My self portraits are not literal representations of my visible self, but are more like visualisations of parts of my psyche.
For me, my body’s part in the making of my self portraits is critical. Tim Benson describes his work as ‘aggressive’ and ‘muscular’
8 weeks at home, 8 weeks at Locksbrook.
Me, myself I: As a maker, fabrication is an essential part of my practice. I realise that most of my investigations in materials and making are driven by a desire to represent aspects of being human, of my Self, and consequently of those aspects I have in common with my viewer. For many years I have had a sense of ‘otherness’ within my self, of multiple selves which make up the whole of me. My sculptural explorations are attempts to embody, or fabricate, these different selves, this sense of fragmentation and balance.
‘The most important boundary of all is the one separating ourselves from the outside world—the self from the non-self—because it is this boundary which establishes at the deepest level what should and should not be familiar.’ Baird, p6, 2013
In a culture of screen based selfies- some snaps taken with a phone, capturing a fleeting moment or memory, others, painstakingly edited to project an image – it is possibly curious to decide to use labour intensive processes to create my self portraits, but somehow the time taken to make something, the involvement of my hands and body-all of me-, and the materials I choose are vital and all bring different subtleties of meaning to my work. I don’t ever actually use a mirror in fact. Instead I rely on memory, heavily influenced by imagination. My self portraits are not literal representations of my visible self, but are more like visualisations of parts of my psyche.
For me, my body’s part in the making of my self portraits is critical. Tim Benson describes his work as ‘aggressive’ and ‘muscular’
