BA (Hons) Fine Art, Upper Second Class (2:1), Norwich University of the arts, 2014/15
MA Fine Art, Merit, Norwich University of the arts, 2022/23
Selected exhibitions, residencies, projects and portfolios
MA Graduate exhibition and online showcase, Norwich University of the arts, Norwich, 2022/23
Love Light Festival 2022, Norwich, 2022
Squeeze it, online resource developed in partnership with Edinburgh College of art, 2020
Oh look, there goes concord again, Outpost project space, Outpost Studios, Norwich, 2019
Outpost studio holders show, Outpost, Norwich, 2018
State of Print, (group touring) – Norwich, Preston, DCA Dundee (further venues to be added)
We Came here to Conquer, Norwich Castle Museum and Art galleries, Norwich, 2017
BALLOT (group touring), CIT Crawford College of Art & Design (June 2017),
Contemporary Art Museum Naples (September 2017)
Belltable Arts Centre Limerick (June 2018)
Palacio de Exposiciones de Santander Spain (September 2018)
3rd Global Print 2017, Douro, Portugal (August 2017)
Lasting Impressions: Selected Work from the Printmakers Council Archive, Scarborough Art Gallery.
WCHTC 2K16, St Margarets Church of Art, Norwich, 2016
The Bishop Art Prize, Norwich, 2015
East/West, print portfolio (Group touring), China Academy of Arts, 2014
Art Hub Print Open, Deptford, London, 2014
Selected writing and transcriptions (excerpts)
The Rest Is Silence, Norwich Castle Museum, 2017 - The piece was commissioned by Norwich Castle Museum and Art Galleries as part of "We Came Here to Conquer" - a group show featuring 11 contemporary Artists responding to the Castle's Print Archive. The exhibition opened in the Timothy Gurney Gallery in September 2017.
My response to Albers precision and control was a material struggle - one that became as much an exploration of function as relative value. Creating then stripping away layers of visual information became a symbolic rejection of control and a documentation of an inherently performative gesture. Rudimentary processes were pushed to the brink of failure in an attempt to instigate the degradation of the image. By contrast the works presentation in the gallery space became an exercise in elevating the fine Art object and in a sense re-establishing order.
The desire to control and contain is a theme that has often been present within my practice, but here I'd wanted to ask questions as to our relationship to these works, to the archive and the institution. In forcing the viewer into close proximity the viewer is given an insight into the privilege of access we enjoyed in the research and development phase, but is denied the opportunity to the view the piece at a distance.
The works title "The rest is silence" - originally a line from Hamlet's final soliloquy and in its original context being interpreted as "This is all I know" was taken instead from Carl Yung's final letter to Freud as an expression of remorse at Freud's termination of their friendship.
Jung wrote - "You, yourself are the best judge of what this moment means to you "The rest is silence."
(transcribed from the Artist's panel at the shows opening event, September 2017)
HouseGroundPlan, Invited artist, Nunns Yard, 2018 - Non-Sites within contemporary fine art practice are largely defined as purely speculative space - a space where outcome is secondary to a process of investigation and development. The inherent tension of these sites has been a focus of conceptual Art since the post-modernist 80’s. The overt romanticism of an Artist such as Felix Gonzalez-Torres stands in direct contrast with a practitioner like Barbara Kruger and yet both are exploring the intersectionality of public and private space. In both cases we (the audience) are asked to unpack complex issues and concerns – our indulgence of which being defined by individual taste and proximity to the subject.
HOUSEGROUNDPLAN - with its utilitarian connotations and illusions to German post-industrialism, presented a number of unique concerns. If post-industrial theory asserts that it is the “form” rather than the “content” that is valuable - how to reconcile post-modernism’s research/development paradigm?
“Dead Letters” is an attempt to articulate the problematic nature of an internalised logic while acknowledging this externalised tension. The lines between conceptualisation/development and outcome become blurred and the works presentation is a conscious placement somewhere in that axis.
"Should we talk about something else?", Outpost Studio holders show, 2018 - is a continuation of themes of space/place and gender previously explored within recent works "Kneeling at the foot of pagan alters" and "DEAD LETTERS". Here, as in previous works, the romanticism of post-modernism is tempered through a post-industrial lens. Visual language is stripped to its constituent parts and the works presentation is a conscious exaggeration of the tensions inherent in the singularity of Artistic intervention.
The title, a cessation of an ongoing conversation - representative of a "turning away" from a shared dialogue and exchange.
The great anxiety of our times, Project lead, Anteros arts, 2017 - Curatorial Statement - The works presented by the five Artists within this exhibition represent a broad engagement with a particularly problematic area of critical study. Terms such as 'place' and 'space' operate within a paradox, both seemingly definitive and yet entirely subjective. It might be argued that they sit uncomfortably close to "here' and 'there', offering little insight into geographical location - rather becoming disjointed and inherently unknowable. Language is abstracted through the prism of individual meaning. This internalised logic, so often a problematic component of contemporary fine art, renders simplistic value judgments obsolete. These relative terms, these systems control stand in direct contrast throughout "The Great Anxiety of our times".
While each of the participants have approached its themes from different perspectives there are areas where the Artists find themselves in agreement. Relative terms are defined through a consensus of willing individuals, an alliance that is easily distorted or destroyed altogether. When considered from this perspective, reflexive gestures draw our attention to the fragility of our faith in such systems of control. In a period of political and social uncertainty we feel this fragility ever more acutely. In this context the works presented are no longer passive, but socially activated commentary.
Jealous Print Studio (internship), London, 2014
Print technician, Print to the people, Norwich, 2015 - 2016
Graduate lecture series (invited Artist), Norwich University of the Arts, 2016
Artist led Print Workshop (lead technician), Makers Month, The Forum, Norwich, 2016
Plug-In (Smiths Row), Artist Lecture series, University of Suffolk, 2017
Introduction to Contemporary Printmaking, Norwich Castle Museum and Art Galleries, 2017
An introduction to Lino and Collagraph (Printmaking workshop for Adults), Norwich Castle Museum and Art Galleries, 2017
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