Flannel panel

My work deals with ideas of how we exist in time and space, how humanity co-exists across boundaries locally and globally, in the context of questions about justice, and fairness and sustainability. A key reference for me has been the ideas of Doreen Massey about the simultaneity and multiplicity of human relations, the distribution of power and what this means for economics and politics. My perspective is also informed by my on-going work as an airline pilot for a holiday company, my background as a criminal justice social worker, and my interest in the experiences of people seeking asylum in the UK. Having worked in the community and in a custodial setting, my interest is in making boundaries permeable and understanding ‘otherness’.
I employ a wide range of different approaches to making art, from an engaged practice that focuses on participation, to public art projects and solo works. Outcomes depend on the individual context, often digital or analogue moving image works, but also sometimes through drawing, printmaking, sculptural or installation methods. Recently I have focused on the multiplicity of ‘lines’ and their presence in different literal and metaphorical forms and my art has been about making these lines manifest.
Recent works include have been about the nature of long distance communication, the fragility of the link, the potential for disruption and misunderstanding, and the vital importance of connection. One was a sculptural installation and the second as a participative work performed daily over 3 weeks during the Edinburgh Festival. The Boavista Line was a performance exploring the geographical proximity of an all-inclusive hotel to the impoverished town nearby in Cape Verde off the coast of West Africa. Easterhouse Wrap was a performance, video and installation work done in collaboration with Platform Arts which involved drawing the perimeter of Easterhouse out on the earth’s surface using 10 kms of wool. Other works have included a footpath marked out in Bellahouston Park, Glasgow, detailing the journey made by asylum seekers from a support centre to the UK Border Agency Reporting Office in nearby Govan. ‘Love Never Dies’ was composed by two elderly cine projectors opposing each other and projecting hand drawn random colours on to the silk screen in between, creating a conversation of colour between them.
Two forthcoming works in preparation include a series of 220 lithographic prints, and a sound installation looking at past civilisations and there contact with today.

Edinburgh, February 2015