After burning the midnight oil I have finally managed to draft a finalised artist statement. This is something that I find really challenging to be able to do concisely. It hopefully provides a context to my current studio practice which has floundered over the past couple of years as I tried to rationalise all the thoughts and ideas that had been generated from the vast amount of research data that I had collected.
I felt that it was important for me to try and be able to create a statement which outlined the intention of my current projects, but also provided the scope to sustain future work. Trying to summarise what drives you to make art work is a tricky business, and editing pages of notes to these few paragraphs has not been an easy process.
There could of course be some further amends but, for now, here is my full artist statement (a updated copy will be maintained on my Facebook page):
Artist statement June 2013
To what extent is our nature altered by the way in which we are nurtured? Is this the process that creates our reality?
Although the personal knowledge that we accumulate throughout our lives may become distorted, it will have irreversibly conditioned our own reality by the way in which it influences how we respond to our environment. Our concept of reality is created by the subconscious adjustments we make in order to navigate particular situations based upon our knowledge at that time.
My work is concerned with both the idea that once something is known it can never be un-known, and whether or not reality can ever be a shared experience. As knowledge is individual can there be a universal reality? Does the past, present and future only exist because we have been conditioned to perceive this as a reality?
Using two separate physical environments as a starting point, my work explores what happens if two locations, and my personal experiences individual to each space, are allowed to collide and co-exist. This creates a newly realised environment capturing a specific moment in time; an imagined reality that can never be physically experienced outside of the work itself.
Through the collation of data from two physical locations, images are constructed using a system of layered shapes to symbolise both the environments and my responses to them. The resulting aesthetic is intentionally suggestive rather than descriptive. The signifiers create a coded message about my own reality that can only be fully deciphered if experiences and realities are shared.