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About Me

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Maker of forms, images and poems, hopefully with deep meaning

Wednesday, July 18, 2012

Straight forward art practice statement & funny bit



I make stuff. Sometimes I make stuff out of things I find or things other people throw away. Sometimes I make stuff by carving wood or concrete or stone. Sometimes I make stuff by putting different things together.

I make pictures by painting and drawing. Sometimes I use oil paints and sometimes I use watercolours. I don’t use acrylics much. Sometimes I use leftover house paint. I also draw with coloured pencils and pastels and pencils and ink and anything that will make a mark.

I also make pictures by gluing images together. Sometimes I take these images and play with them on the computer. Sometimes I add words to them.

Mostly I make art by playing with materials. I usually start off with a vague idea of what sort of thing I want to do and let the piece grow from there. Often what I want to do is sparked by something I have seen or intuited or imagined or just fallen into. Sometimes I might look at what other artists have done and use that as a starting point.

I hate art that doesn’t have poetry—everything by Damien Hirst, anything that is conceptual, pop art and anything where the artist uses the term "referencing". Contemporary justifications of art are rubbish, banal or derivative. Art with poetry is its own justification.

And now for the funny bit...I played around with a starter from artybollocks (a free automatic generator of artist statements), to make it far more academically acceptable and post-post-modern. I hope you enjoy it:


My art practice investigates the duality inherent in the intersection of acquired synesthesia and romance tourism. Significations embedded in the ephemera of tourism textualisations and discourse are deconstructed through the prism of synesthesia. The artworks, considered both as simulacrum and synecdoche, reference Rousseauvian depictions of the bon sauvage and the social critique implicit in arte povera , performative street art and the music of John Cage. They negotiate the indeterminate socio-political space between the appropriated “native” and the Other, in an attempt to re-engage with this reconstructed dialectic.

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