Artist Statement

My work explores spatial and narrative possibilities of fragmented, transitional spaces and the transferring attentions with which objects are perceived. Drawings within the sketchbook, derived by scrutinising urban and domestic scenarios, are enlarged and redrawn to represent archetypal objects. The sequential chronicling of such fragmented spaces inform the positioning of these drawn objects, applying their iconographic and utilitarian potential to construct ontological and spatial experiences propagating narrative. The arrangement of drawings and actual objects collectively employ a theatrical vocabulary: layering rather than perspectives create physicality where appearing and disappearing outlines become indicative of objects. Such pairing of multidimensional physicality with suggestive rather than actual objects warrants imaginative relationships between the suggested objects and intermediate voids to occur.

The empirical quality inherent to suspended paper emanates impermanence that is intrinsic to thoughts themselves. The now condensed depth of field rearranges the urban tiers, eliminating interruptions and focusing peripheral vision. The dangling profiles of the drawn objects allocate autonomous stature to the individual signifiers and act as visual markers. Akin to box sets, Victorian toy theatres, and pop-up books, the installations investigate spatial organisations within the architectural space observing what exists and that which is amplified in its absence. The layers prescribe a physical and optical movement making narrative discoveries possible

With drawing placed firmly at the centre of my practice, I experiment with drawing techniques, bringing attention to exaggerated marks, break points and the richness of line itself with the intention of intensifying the exaggerations made apparent whilst enlarging the drawings using a mirror projection. While drawing, I constantly refer to the diversity with which Manga is drawn. Illustrations of Mitsuru Adachi and Osamu Tezuka as well as the works of Julian Opie, drawings of Rachel Whitereed and David Shrigley have had substantial influence on my techniques.

The installations aspire to become perimeters within which momentary recollections and personal musings are sustained. It is ambitioned that the curiosity with which discovers are made inside this space persists outside it too.

One thought on “Artist Statement

  1. Anyone who mentions the word “ontology” must be ‘wealthy’ enough to have the time contemplate the nature of existence…. very Greek.

    An abundance of words, and the dreaded word “narrative” give the ontological impression that this work belongs firmly in the ‘existence’ of the elite art world. A niche so firmly packed with ideas and contemplations of navels that if it burst it would send the universe into chaos!

    Having experienced one of Vishwa’s exhibitions I can relate to her last short paragraph.. which really says it all. I did leave thinking about layers and thoughts about 3D printing… perhaps about the boundaries of objects and other luxuriously useless thoughts… again very dualistic, Greek or in the vein of mono theistic thought.

    This is what I find so ironically painful about art… too much thinking and not enough just ‘being’. It is wonderful how the indivisibility of all existence is challenged by the apparently diverse and striking nature of ‘entities”. Observe, accept and let it be – so easy and pleasurable…. or analyse, icon, archetypal, measure, probe, judge, justify, critique, estimate… all very solid, pokey, prying words full of tearing and prodding and thoroughly prone to dualism.

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