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I often spend a disproportionate amount of my studio time tidying and clearing. When I built the space, I paid particular attention to getting the walls flat and white and the painted floor as smooth as possible; beyond necessary for a functional workspace. Why? Procrastination is certainly a factor, but I think the space has a liminal quality, much like a gallery whose physical presence can imbue their contents with a fetishistic power. I started thinking whether the art itself might be located within the studio’s potency and within the act of clearing and preparing it for its transformative acts. My recent works therefore have been in response to the building, preparation and maintenance of the studio space. I’ve been using the associated tools, apparatus and processes in the making of art. Often, the results can simultaneously be seen as sculpture, painting, installation and performance.
My current work is situated in the broader context of my practice that investigates the way art operates: its values, status and categories. I’m interested in how art has been given a special status and draw attention to the absurdity of this. For example, by creating oil paintings of bird poo, their different statuses and physical similarities are simultaneously demonstrated. They’re both paintings after all! Beyond questioning some assumptions about art, I’m interested in subverting organisational systems, their arbitrariness and apparent logic. Why is ‘A’ the first letter of the alphabet? Why is blue the colour of motorways on maps? Why is A4 the standard paper size? This kind of enquiry also extends to re-contextualising the function and histories of found objects.