Artist
Masters in Fine Art (MFA) Glasgow School of Art (1998-2000)
Exchange Scholarship, School of the Art Institute, Chicago (1999)
I have exhibited work and developed projects in the UK, Europe, Australia, the United States, Japan and China. Recent exhibitions include: ‘Desert Equinox II’, (2022) in Broken Hill, Australia, ‘The Howse Shal Be Preserved’ at Rockingham Castle (2021), ‘Practicing Landscape: Land, Histories and Transformation’ at The Lighthouse, Glasgow (2020) and ‘Blood From Stone’ at Fineshade Wood in Northamptonshire (2019).
In 2023 I was artist in residence at JoyaAiR, near Vélez-Blanco, in Andalucia, Spain. I have previously been awarded residencies at Arteleku (Spain), Cove Park (Scotland) Grizedale (England), MOMART (Tate Liverpool), Berwick Gymnasium Fellowship and Outlandia in Glen Nevis.
My research is an attempt to understand the natural environment we are part of. How do we sense it and make sense of it? The resulting art works are an attempt to make this connection tangible. The climate crisis has caused me to look specifically at the role and responsibility of the artist and to engage with active elements in the landscape. Recent research and practice explores the extent to which the creative practitioner can move towards a non-human perspective.
I am currently Reader in Contemporary Practice: Art & Environment at Glasgow School of Art where I teach Sculpture & Environmental Art. I am a member of the Reading Landscape Research group at GSA. More info here
Contact
For more info about my research click here
‘Creatures of the deep’ (2024) Series of klecksographic prints made during a residecy at Cove Park. Prints were made using ink composed of rust from the security fence at Coulport nuclear weapons base mixed with oak gall from neighbouring Peaton Glen Wood (a temporary peace camp). Work installed in the Jacobs Building at Cove Park.
'Mirage I' (2023) Site-specific installation created from harvested microplastics in dried-up river gorge, Andalusia, Spain. Work made during a residency at JoyaAiR.
'Mirage II' (2023) Harvested microplastics in dried-up river gorge, Andalusia, Spain. (Image credit Justin Carter) Work made during a residency at JoyaAiR.
'Beings without a world' (2021), Digital prints on cotton. Broken Hill, Australia.
Original prints made using oak gall ink composed of rust from mining equipment. (Image credit Allan Giddy) Work was installed as part of Desert Equinox I0th anniversary show.
‘Elephant in the room’ (2020) Installation at Rockingham Castle. Part of The Howse Shal Be Preserved (Fermynwoods Contemporary Arts). Made during lockdown, oak galls from the castle grounds, along with rusty metal from old keys and metal locks were sent from the castle to make oak gall ink. The ink was then used to make klecksographic prints onto the reverse side of headed note paper belonging to the previous owner.
There is something inherently paradoxical about the inkblot or klecksograph: The apparently accidental mark or stain, perfectly replicated. A chaotic silhouette mimicking nature. The mind struggles to reconcile abstract form with known likeness.
‘Blood from Stone – Impressions of Life’ (2018) Arches Space, Fineshade Wood, Northampton. Klecksograph prints made from locally harvested oak galls mixed with rust from giant dragline buckets used in opencast mining. For more information about this project see related article by Danny McNally in The Drouth here
The project also features in another article by James Steventon here
‘Autumn - After William James Muller’ (2013) performance work linking Leigh Woods with Bristol museum. Country style suit was fabricated using repeat pattern from William James Mullers painting ‘Autumn’(1833). A daily walk during the course of the project linked the site of production en plain air, with the site where the painting is currently displayed. (video and photo credits Ben A Owen) Exhibition catalogue available here
For more information about this project see related article here