The Shadow of Your Shadow

 

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

 

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

 

Astral Flesh 2-Way Stretch

installation view
Dolph, London; 2017

Slip Proof & Long Neck

 

Slip Proof & Long Neck

block print on leatherette
90 x 150cm
2017

Captive Series

Captive Series

block print on nylon/lycra, sock print and block print on cotton lawn.
150 x 200cm
2017

I first developed a method of block printing using wooden sandals 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

 

Original Condition

screen print, cotton, aluminium print screen
58 x 68cm
2017

Original Condition

 

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

 

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

 

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

 

Full Drop, Half Drop, Brick, Spot, Diamond, Triangle, Stripe, Hexagon, Ogee, Scale, Mirror, Turn-over, Swiss, Tossed, All-over

detail

Full Drop, Half Drop, Brick, Spot, Diamond, Triangle, Stripe, Hexagon, Ogee, Scale, Mirror, Turn-over, Swiss, Tossed, All-over

 

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 Iíve printed both a tile pattern and my weekly borrowings from the local pool. Hair bands, earrings, used plasters and goggle parts etc. were found, removed, screen printed in the studio and finally returned to the bottom of the pool.

 

Why Don't You Put Eyes In Those Holes?

 

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?

 

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

 

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 Donít You Put Eyes In Those Holes?'

 

How Hard?

 

How Hard?

painted steel
97 x 60x 5cm
2014

I could go a lot harder

 

I could go a lot harder

painted steel
100 x 200x 19cm
2014

Harder

 

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 Britainís deer population.

 

The Trees Get New Leaves In Spring

 

The Trees Get New Leaves In Spring

installation performance
Limoncello, London
2013

The Trees Get New Leaves In Spring

 

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 ĎAndy Pandy Paints His Houseí 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)

 

Towards Zero (19–23)

installation view
Frutta, Rome
2013

Towards Zero (19-23)

 

Towards Zero (19–23)

detail; soap, paint
2013

Towards Zero (1-18)

 

Towards Zero (1–18)

detail; soap, paint
2013

'Towards Zero' is a series of works made by washing paint-covered hands.  

From the Department of Dead Ends (Pink & Rose)

 

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)

 

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

 

The Old You #10

dye transferred from jeans to paper
21 x 29 cm
2012

The Old You # 8

 

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.

 

 
 
 

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