I am a glass artist and my practice includes conceptual sculptural pieces, as well as architectural and site-specific installations. I am inspired by geometry, abstraction and architecture. I create work that highlights the effect of light and cast glass. I use lost wax casting to create negative spaces within the form of a piece, which distorts and refracts through the density of glass and can represent deeper perspectives.
On a a brighter note, I have an interview for "The Fresh Air Glass Apprenticeship Scheme 2015" where the prize is an apprenticeship with Colin Reid no less. I've been invited for an interview and to do a presentation. http://www.freshairsculpture.com/
My proposal piece which will be made during the apprenticeship with Colin.
I remember many years ago watching a lemon being used as a battery to illuminate a light bulb. So I am making a floodlight gantry from glass and steel, with glass lemons as the lights.
If I get selected the finished piece will be exhibited at Fresh Air 2015.
I was approached at New Designers and after an interview where we discussed my work, and the subsequent application and assessment report, I have just been notified that I have been accepted as a Licentiate of the Society of Designer Craftsmen.
Also I will be exhibiting my latest body of work at the Artizan Gallery in Torquay during the Devon Open Studios event from 6th to the 21st of September.
Video of the Holmesdale Fanatics (HF05) of Crystal Palace FC preparing a display for their home match against Manchester United
This dissertation proposes that
groups of particularly passionate football fans are a form of craft community.
The ‘ultras’ create extravagant displays which enhance their performances during
football matches. Much attention has been paid to hooliganism and football
violence, but very little has been written about the positive and creative
aspects of football fandom. This paper asks if the ultras are a
community of practice. They are compared with the ‘craftivists’, and the
notion of ‘home’ is discussed within the context of football and the re-evaluation of
private spaces. The political nature of the ultras is considered and the
concept of ‘the political‘ is addressed, with reference to
Chantal Mouffe’s insights into the failure of politics to embrace the political and the
importance of antagonism in political discourse. The performative nature of the
ultras raises the question whether this can be considered artistic practice, in
the light of Grant Kestor’s discussion of ‘dialogical
aesthetics’ and the role of dialogue-based artistic interventions. The
conclusions drawn from this study suggest that the ultras are a community of
practice through expressing a shared repertoire and through the organisation of
public events. The artistic practices of the ultras are evident but difficult
to define. The manner in which the ultras support their club and the criticisms
they direct towards the authorities contradict their apolitical position;
Kestor’s dialogical aesthetics, particularly the role
of empathy, could be used to heal the rift between the ultras and the football
An interesting and successful week at New Designers. I met some fantastic glass artists who also graduate this year. It was also an honour to present my work to the judges of the Contemporary Glass Society. Although I did not win any prizes, David Reekie sent me a lovely e-mail saying how much the judges liked my work. I was also invited to apply for membership of the Society of Designer Craftsmen and to cap it all I have been invited to apply for next year's New Designers, "One Year On".
Oh and another thing, I achieved a 1st class honours degree!
I was struggled with finding a subtext for my previous
experiments, but through engaging with the material I gradually moved towards
using a recognisable motif, the “Monopoly” house. By using it in a modular
fashion I wanted to explore the notion of public and private spaces, as well as
a comment on property as investment, not as domestic home spaces. The “Monopoly” house motif is used to represent
the notion of private property and space. The distinction between the public and private
is now increasingly blurred. The current economic climate has seen an increase
in evictions and homelessness and the notion of the private space is being
re-evaluated. Private spaces have now moved into the public realm, as people
are forced to take residence in these spaces to find shelter. Yet there are
many rules, regulations as well as an increase in surveillance, that make
surviving in these public spaces more difficult, and the homeless are punished
for doing things in order to survive. (Belvis Pons, 2013) http://www.furtherfield.org/features/performing-home-art-activism-and-affections My interest in modernist
architecture has focussed on brutalism, as there are many examples of this in
Croydon. This style was mainly used for public building projects and was
popular with governments and institutions. However, this style was not adopted
for corporate projects, as its architectural philosophy was associated with
utopian socialism and the public sector. The buildings are typically large,
fortress-like, that uses modular elements grouped together into a unified
whole. Concrete is used in its raw, textured state revealing the basic nature
of its construction. (Wikipedia, 2014) http://en.wikipedia.org/wiki/Brutalist_architecture