This year I focused on worldbuilding as a means to explore imaginative and compositional possibilities at a range of scales, all acting as miniatures of the world itself. I want to facilitate a practice that flows and is open to new possibilities; is cyclical, in conversation, thinks through objects and images, and considers how the personal and the placement of things are linked.
My work is an extended drawing practice that investigates relationships between maker, marker, mark and material. I address tensions of being caught up and carried away with images created through processes of mind wandering: worldbuilding strategies within studio generated artefacts that exist as both objects and placemaking devices, so the work and studio seem enmeshed like plants in a garden bed.
Rather than neatly extracting the plant as a discrete object, I also find it beneficial to leave the soil that encases the roots intact. Artefacts transplanted in this new plot form another disposition, where ideas of containment and dispersal are intensified.
Temporary containers that are not fully enclosed but allow for spillage, where objects slip into loose scenes of interrelation, acknowledge the spaces of the room as a site of contact; a membrane rather than an absence.