Fragment (2020)

Installation shots from self-appointed residency at multi-storey car park at Martim Moniz, Lisbon

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[ /// 0 ... ] (2019)

perspex, fishing weight, burnt copper pipes, pink salt

Installation view,  a week in the garden at the icing room for Element.Void: Antiuniversity

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_______________________I think a lot about how we use language to describe things, how it shapes our

 

experience.  How, for instance, when I pick up

 

a stone or

a crystal

         

        I have an object that speaks to ideas of deep time, esoteric narratives, tool making, industry, the

 

environment…

 

        whilst at the same time remaining a tactile, material object______________________ I’m interested in how

 

we can push against the edges of these overlapping structures, opening onto new landscapes through

 

processes that speak to translation, or indeed cross-contamination. Through this, to allow new ways of

 

experiencing things to arise.

 

 

           Collaborative and collective processes of un-doing, un-learning in order to re-world, re-describe.

_______________________thinking a lot about how we use language to describe things, how it shapes our

 

experience.; how to pick up

 

a stone or

a crystal

         

        is to hold deep time, esoteric narratives, tool making, industry, the

 

environment…

 

        whilst remaining a tactile, material object______________________ how

 

to play around the edges of these overlapping structures, 

 

processes that speak to translation,  cross-contamination :: 

 

 

           Collaborative and collective, _________un-doing, un-learning in order to__________ re-world, re-describe.

No wonder, you sense mysteriousness (2020)

Carbon paper, tape, tourmaline crystal, found text, HD video (no sound, duration 4.52), HD video (with sound, duration .35) 

No wonder, you sense mysteriousness was amongst a set of found phrases taken from various astrological websites, from all the different zodiac signs, at the summer solstice. Once removed from origin, the phrases began to shape themselves, to suggest their own rhythm and sense of meaning. The work was on show at Goldmali Gallery in July.  

 

The video can be viewed here 

Live installation, using Derek Jarmen's Journey to Avebury (1971); sound and visuals from Foclore Impressionista

Plastic sheet, soil, sand, salt, sugar, found objects, tumbleweed, spray, washing up liquid, chalk, strawberries, milk

April 2018, Atelier Banco, Lisbon

The work engages with ideas of excess; of language, gesture, voice. An inability to contain or be contained. Slippage between text and object, the instability of each, discomfort of the space between. ‘maybe we’re going places, baby’ is a statement, or introduction, or throwaway line, that undermines as it unravels.

The work was developed during a residency at Zaratan Arte-Contemporânea, Lisbon, November 2016.

How you left (2016)

HD video (no sound), duration 5.19 

maybe we're going places, baby (2016)

Chair, sponge, yoghurt pot, glass, silicone, boiled and chewy sweets, found text / footage, hair gel

Installation view, Zaratan Arte-Contemporânea, Lisbon

If language is a mudslide, and the internet a chorus, redirecting flows of materials becomes a preoccupation in a lot of my work.

     My practice brings together fabricated and found objects, often using poetry as an impetus or bridge. The resulting works move across                sculpture, installation and text, to rest in the porous border between something narrative and something more abstract. //  I am drawn             to materials that seem to go against their initial reading , that says something about the way language is ascribed to material , and

         how material is appropriated into narrative. Often my work looks to mimic (or contaminate) archival impulses, via the creation

      of collections or series. 

    There is also an interest in spills, stains and glitches, how stuff cannot be held in or contained, despite attempts (often my own) to clean

  them up. This brings up questions about the meeting between materials, stuff and language, and how they resist any kind of containment or constraint. // 

           the icing room project further explores these ideas of transience, crossing between the domestic and non-domestic space. 

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Experiment (stones and happiness) (2018)

Branches, gouache, perspex, soda crystals, water, peacock eye crystal

Installation view: BLUERUiiN, Banco, Lisbon

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That time in Spring (2016)

Cake box, napkin, olive, hose, grass, washing capsule, nail polish, plaster on scaffolding board 

 

Installation view, the icing room

ways of catching air (2017)

Video shot with iphone (with sound), duration 3:58

shown as part of installation ashes ,, mollusque ,, moscatel 

Talvez falaremos em algum momento 

Maybe at some point we'll talk (2017)

Grid, wok, fishbowl, shells, unfired clay, blueberry dye on vegetable paper, text

85 x 100 x 18cm (approx.)

Installation view, Zaratan Arte-Contemporânea, February 2018

suspiro. suspiro (2017)

Foam mattress, young clay, gesso, spray, pomegranate flavour hand soap

 

Installation view, Banco, Lisbon

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Para escapar (2017)

Love letters, left in various sites around Lisbon, using pink, yellow, purple tape - then printed as a book and sent to friends. 

The letters can be read here