I often think of my work in the terms of a recipe,
clay bodies and glazes are all mixed to specific recipes and follow precise –tired and tested firings. Also all the
different parts and influences are carefully blended. The forms are refined and developed. Then they have to be fired to the
correct temperatures to get the desired results.
I often spend time absorbing my environment.
We are bombarded constantly by visual and audio stimuli;
it must have some effect on us. I believe that we are all the product of the society in which we live, newspapers, magazines,
radio, television programmes, advertising billboards even an overheard conversation on the bus, they all filter in to our
I am constantly gathering all these influences
together, sifting through them for a source of inspiration, or a glimmer of humour, then mixing them together and refining
them, through drawing or written word.
Some pieces reflect concerns of a serious
nature; genetic engineering or gm foods, bse, foot and mouth, female infanticide in India, the list goes on and on, and grows
with every news bulletin, newspaper report;
We live in a world where children get pregnant, where
in India 25,000 female foetus were illegally aborted this year alone, that in ten years time there will be an imbalance of
75% male population in Asia, and all because it is expensive to have daughters.
Where customs officials at Heathrow found
a cargo load of cooked frozen monkeys, bound for an exclusive London restaurant.
Where children from third world countries are sold
into prostitution slavery on our own doorstep.
Where people have lost hope so
much they see no other way of communicating their point than blowing themselves up in public places, for maximum impact. It is a difficult task to make
these truths palatable for the audience.
I intend to rise to the challenge.
I had written in
one of my sketchbooks, a list of all the things my work was about:
Domestic, political, feminist,
sexual, insular, openly confrontational, and decorative, all these contexts are an important content of my work, and it has
been through a process of experimentation and exploration (I have read books on subjects as diverse as anthropology, sociology,
feminism, quantum physics, sexuality, post modernism, modernity and religion) And I have come to the point at which I am now. Culminating in a body of work, which shows that
I have discovered a voice of my own.
I realise that I am interested in the inter-relationship
between language and image. It is often the suggestiveness of the titles that I give my work, which stimulate reaction to
and or understanding of the work.
Titles can often be the starting point of a piece,
or a place to inspire new investigations and inclusions into a piece.
To me understatement is a powerful weapon,
so I frequently employ the use of camouflage to obscure the confrontational nature of my work; hopefully this helps convey
the message all the more forcefully.
I am now confident that I have something to say, and
if my work makes people look at themselves and laugh then I will feel that I have succeeded.
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