The Shadow of Your Shadow
block printing performance; performed by J'Nade Alcindor, Saskel Fenton, Maria Da Silva Antunes, Julia Oliveira, Shanaya Nurse with accompanying soundtrack by Tommy Grace; AIR at Lawrence Works, London; 2018
The Shadow of Your Shadow
detail of textile printed during performance; 2018
The Shadow of Your Shadow
block printing performance; Performed by J'Nade Alcindor, Saskel Fenton, Maria Da Silva Antunes, Julia Oliveira, Shanaya Nurse with accompanying soundscape by Tommy Grace.
AIR at Lawrence Works, London; 2018
'The Shadow of Your Shadow' was developed as part of a project by AIR in response to a recently closed textile factory in North London. Five dancers perform a short choreography across a roll of fabric wearing purpose made print-block shoes.
Astral Flesh 2-Way Stretch
installation view
Dolph, London; 2017
Slip Proof & Long Neck
block print on leatherette
90 x 150cm
2017
Captive Series
block print on nylon/lycra, sock print and block print on cotton lawn.
150 x 200cm
2017
I first developed a unique block printing method, using wooden sandals as print blocks to be worn, for the exhibition 'Astral Flesh 2-Way Stretch' at Dolph Projects. The blocks were walked across lengths of fabric in a range of choreographies, colours and motifs to create works 'Slip Proof & Long Neck', 'Captive Series', 'Euro Sock' and 'U-Beam'.
Original Condition
screen print, cotton, aluminium print screen
58 x 68cm
2017
Original Condition
screen-prints on cotton, silk and sateen, yellow-meshed aluminum print screen, aluminum legs, return receipts, plywood, nail
70 x 87 x 123cm
2017
Original Condition
screen print, cotton, aluminium print screen
70 x 87 x 62cm
2017
'Original Condition' is an ongoing screen printing project which makes use of the 28-day return policy common to high street retailers. A garment (such as a scarf or shirt) is purchased, used to make a print and then returned to the shop for a full refund. The aluminium printing screen becomes the frame or support for the final work.
Full Drop, Half Drop, Brick, Spot, Diamond, Triangle, Stripe, Hexagon, Ogee, Scale, Mirror, Turn-over, Swiss, Tossed, All-over
screen print on cotton
1700 x 250cm
2016
Full Drop, Half Drop, Brick, Spot, Diamond, Triangle, Stripe, Hexagon, Ogee, Scale, Mirror, Turn-over, Swiss, Tossed, All-over
detail
Full Drop (test)
screen print on paper
59 x 94cm
2016
'Full Drop, Half Drop, Brick, Spot, Diamond, Triangle, Stripe, Hexagon, Ogee, Scale, Mirror, Turn-over, Swiss, Tossed, All-over' is a swimming pool-sized roll of fabric, onto which I’ve printed both a tile pattern and my weekly borrowings from the local pool. From hair bands and earrings to used plasters and goggle parts, I found and removed the objects from the pool’s bottom; screen-printed them in my studio, then returned them to the pool.
Why Don't You Put Eyes In Those Holes?
installation for a participatory workshop
New Walk Museum & Art Gallery
2016
Why Don't You Put Eyes In Those Holes ?
script for a performance (extract); 6 colour screen print on card.
100 x 21cm
2016
Trying To Cut Out A Heart
fabric remnants, textile adhesive, cotton
200 x 91cm
2016
This project began with an installation of remnants from the garment making industry at New Walk Museum & Art Gallery, Leicester. Participants were invited to cut into this display of off-cuts to create new garments. Their leftovers and audio recordings of the workshop activity became the raw material for the textile work 'Trying To Cut Out A Heart' and the scripted performance 'Why Don’t You Put Eyes In Those Holes?'
How Hard?
painted steel
97 x 60x 5cm
2014
I could go a lot harder
painted steel
100 x 200x 19cm
2014
Harder
painted steel
99 x 209x 23cm
2014
These sculptures are based on road-side barriers typically found in coastal areas. The framework is initially fabricated as a symmetrical design before being rapidly re-shaped by the fabricator in a moving vehicle. After the collision, the sculpture is hand finished with layers of exterior paint. The accompanying publication 'Hard, How Hard, Harder Than That' is a script for a radio play first performed at Camden Arts Centre in 2014. This dramatisation charts the various exchanges between artist and fabricator, touching on metal-working techniques, car collisions, art history and Britain’s deer population.
The Trees Get New Leaves In Spring
installation performance
Limoncello, London
2013
The Trees Get New Leaves In Spring
washed washable paint
Limoncello, London
2013
The starting point for this work was a childrens book published in 1954 ‘Andy Pandy Paints His House’ by Maria Bird. 'The Trees Get New Leaves In Spring' is a transcription of this text presented as a script. Lying somewhere between directions for a stage play and a loose proposal for a creative workshop, the script is used by a group of children to perform the installation process.
Towards Zero (19–23)
installation view
Frutta, Rome
2013
Towards Zero (19–23)
detail;
soap, paint
2013
Towards Zero (1–18)
detail;
soap, paint
2013
From the Department of Dead Ends (Pink & Rose)
7 colour block print
edition of 5
70 x 70 cm
2013
From the Department of Dead Ends (Pink & Rose)
detail
2013
This edition borrows registration marks from William Morris block printed wallpaper 'Pink & Rose' via the archive at Anstey Wallpaper Company. To create the edition bearer-bands and registration pins, used by the original block printer to align each layer of colour, have been faithfully re-created across seven new print blocks.
The Old You #10
dye transferred from jeans to paper
21 x 29 cm
2012
The Old You #8
dye transferred from jeans to paper
21 x 29 cm
2012
These works are made by carrying a piece of A4 paper in the back pocket of a new pair of jeans for a number of days.