I make patterns.
Patterns are how I understand the present. They exist in every aspect of my life, from fabrics we wear, language we use, music we listen to, the cycle of seasons and the landscapes of streets, buildings and spaces that we live inside. I find them predictable and comforting at times, but also mechanistic and oppressive in equal measure. The patterns I make are often a blend of all these aspects.
Simple patterns are easy to replicate, but complex patterns such as the fractal forms of nature or the dynamic interactions of human behaviour are a lot harder to recognise. A defining characteristic of our current information age is the capacity to record and process massive amounts of big data from the natural world and our own human landscapes.
We spend our lives deliberately building or unintentionally defining systems and patterns of behaviour that are written into law and structured by financial systems into a synthetic man made reality. We have turned our environment, the place we live, into a landscape of information.
The patterns which I am most interested in are those which are usually invisible, hidden behind the spectacle of image and media that replaced our relationship with reality. My work makes them visible.
Sol Lewitt, Bridgette Riley, Gerhard Richter, Ellsworth Kelly, Jackson Pollock, Piet Mondrian, Frank Stella
I studied architecture in the 1990's and developed a keen interest in large scale urban landscapes, modern art and the emerging field of computing. My current practice is a blend of these interests.
Working from the Wimbledon Art studios, on the affordable fringe of London for the last five years, I have developed unconventional ways to make art and sculpture using a diverse mix of materials from wood and paint to acrylic resins and metals. My pieces begin as concepts in computer code which are machined into raw materials and finished by hand with traditional craft skills.
Artists through history have recorded experience visually with paint on canvas. While traditional mediawas relevant to the world a hundred years ago, I personally do not consider it so today. I chose to collect data, usecode and machineryto create art that belongs in the present.
My career over last twenty years has included a wide range of experience from tiny scale model building to massive scale urban planning. In recent years I have worked with laser cutting and 3d printing as the technologies have become available, but primarily use CNC routing to create work because the tools allow me hands-on control and the most freedom to mix machinery and craft together.