Somebody looks at work that engages with figuration through gestures that depict traces of activity, accessories, or fragmented representations of its form.

These renderings point to manifestations of self that are in continuous states of flux, constituted through processes of erasure, accumulation and revision. They are adjacent to the illustrative and intact, separate from any notion of fixity. Instead, their malleability foregrounds agency and favours the possibility of impermanence and fluidity.

Though tactile and material in their approach, these works speak to the absence of their subject, and to the temporality of the constructed self. The figure is not replete; it is formlessness being continually reshaped, a process that is illuminated through the objects and imprints that persist. Vestiges of iterative selves have the potential to seed new thoughts and formations elsewhere. In this shifting of contexts, it is not the form itself that is of significance, but these moments of/in transformation.

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The Hand of Mee and the Moonflower Version 3
Five hand blown vessels in stainless steel butcher gloves, cast glass, slumped glass, various quartz crystal balls on plaster base
60 x 64 x 132 x 4 inches (162.5cm x 10cm.)
Unique
2019