Everyone has something to say about the weather. It’s something we encounter, it washes over us, and it sticks with us — the weather is key to universal experience.
This practice reflects on shared encounters, spaces and environments, drawing upon personal narratives around the weather. The work oscillates between abstraction and representation. Influenced by Husserl’s phenomenology, whereby experience occurs without prior knowledge or preconception, it questions spectatorship, hierarchy and what it means to be a viewer in a space. Acts of intervention, such as the removal and replacement of advertising, disrupt existing social and visual hierarchies imposed by the commercial monopoly of public space.
Throughout the work, everyday thoughts relating to the weather are posed as questions, sometimes directly to the viewer or spectator. Recent work, focussed on encounters in local sports pitches, further questions this role of spectator through the physical and personal experience of confronting the movement and energy in the landscape.
Drawing is central to the work and is often where the initial research and development happens. Once finally translated through a process of mono-screenprinting, the work contemplates the reliability of memory in relation to the encounter. This openness to translation allows decisions of colour and gesture to be resolved in the process, leading to evocative and atmospheric works on paper.
This practice reflects on shared encounters, spaces and environments, drawing upon personal narratives around the weather. The work oscillates between abstraction and representation. Influenced by Husserl’s phenomenology, whereby experience occurs without prior knowledge or preconception, it questions spectatorship, hierarchy and what it means to be a viewer in a space. Acts of intervention, such as the removal and replacement of advertising, disrupt existing social and visual hierarchies imposed by the commercial monopoly of public space.
Throughout the work, everyday thoughts relating to the weather are posed as questions, sometimes directly to the viewer or spectator. Recent work, focussed on encounters in local sports pitches, further questions this role of spectator through the physical and personal experience of confronting the movement and energy in the landscape.
Drawing is central to the work and is often where the initial research and development happens. Once finally translated through a process of mono-screenprinting, the work contemplates the reliability of memory in relation to the encounter. This openness to translation allows decisions of colour and gesture to be resolved in the process, leading to evocative and atmospheric works on paper.