Word on the Street is an ongoing body of work that has developed through the (th)inking, from letterpress, via digital, to screen print and explores iterations and interpretations of the ‘mother marks’ to create new language-scapes… a form of typography as topography.
The starting point was research into the ideas of constructive disobedience and artful activism. It continues through conversation and iterations of ink on paper.
I am intrigued by the environments we construct (both real and imagined) through the language we use and how we, as individuals, create and navigate the spaces, to come together, in-between. How does our physical environment impact on this? Where do spaces bring people and ideas together and create the potential to articulate an alternative?
If a city can be perceived as a language, then how do we navigate the semantic we build into our word work? How can we reach a commonality of intent, a base level of understanding? How do we stay true to ourselves whilst enabling democratic participation through an invitation to collaborate in a process?
NEW YORK MINUTE
On the streets of New York, time moves differently: fast and unrelenting. The constant passing of people and time forges the city that never sleeps, from which comes these quiet visual spaces. Within the frame, the city finds order. Between each beat in the city’s rhythm, there’s a pause: a quiet that punctuates the flow. Imagine each photograph as these individual beats.
Spanning two decades, these photographs come together as a collection, which takes a contemporary look at New York. With a nod to the Masters of the New York School of Photography and a contemporary, individual character, these New York Minutes evoke a feeling of recognition that connects a dialogue of past and present.
The Marks That Lead
The Marks That Lead showcases my ongoing attraction to the contrast of line, shape, and texture that the city constantly provides. Influenced by architecture, structures, materials and movement, the work captures, through a clever juxtaposition of collage, photography, and graphics, how we mark our immediate urban landscape.
The process I have chosen for these pieces combines disciplines and techniques that build layers, textures that are varied, and graphic compositions. The methods used can be instantaneous, giving me the opportunity to react and respond to the ever-changing surfaces and landscapes of the city that I inhabit. I have tried to capture the marks people leave, people from all walks of life, ages and professions, whether its children leaving chalk marks on the pavement, workmen spray-painting instructions for their colleagues, or discovering the evidence of past activities that have left their mark on the city.