Spike Island, Bristol
A site, a place. A space to ‘think’, to ‘be’ and to ‘try’. As an artist who increasingly makes work in the ‘landscape’ the ‘environment’, for site and for place – time in the studio has become a place and a period for reflection and evaluation more than a site of productivity. I still test pieces and ‘draw’ things out – and could not function without the studio, yet I am also testing this space and my activity and relationship with it. I guess this is inevitable – as an artist who makes work in response to place then my attention naturally turns upon my relationship to what is the most scared of places to me.
Current studio work emerges from a chaotic working space. Images, objects and materials are in states of flux. They pass each other, communicate, and after a pause, bring a momentary full stop. The seared, cut parchment of ‘Nothing is Something’ is recreated and comes to swathe the stark branches of a stubby bonsai. Target and blown drawings collide. Ideas gather in my mind like balls of dust, gathering density and physicality over time. I read seminal texts on the gallery, on space, on exhibiting. I re-visit sketchbooks and dream new works. I am surprised by their quiet spirituality and insistence. I wait, and plan how to breathe them into existence.