So far I have talked about my work in regards to the infra-ordinary, the everyday items that may be considered my materials, but now I think perhaps I should introduce the way in which I approach this kind of  work. Much of my work is in the field of installation and the notes that follow are things that I first recognised that I do in regard to that work, however I soon realise that I apply the same principles to all of my work. Indeed I think they are probably the basic premise of all art.

I start off with an environment or a context; where I make observations of its features and assets, I then think about and process these observations and from them determine a response.

ENVIRONMENT, OBSERVATION, PROCESS, RESPONSE

these are the keys features of what I do to produce situation-specific art. But, as I say the same applies to any art; let’s think about a painting, for example something  like a da Vinci from the 16th century. Much of his work was commission by the Catholic Church so that is his context or environment, his observations would be based on his upbringing within that church and the nature of the commission. The process would be the design stage where he would decide how to fulfill the commission and the response the painting itself.

But enough about that for today, I want to talk more about how I approach my work, but maybe not in large blocks at any one time. As you have probably noticed I have also posted two new photos on here today. The one at the top is of a stack of pallets that I came across just up the road from the studio. The one immediately above is of a new sculpture, Self-portrait with Jenga, which I have just produced partly in response to the pallets but also to finding the set of giant Jenga in the studios.

 ENVIRONMENT, OBSERVATION, PROCESS, RESPONSE.