Page 72 - Art Reveal no8

72 Art Reveal Magazine

late to our surroundings on a more
physical level. So I started creat-
ing three dimensional landscapes
using film footage printed onto
cloth and shaping it using alumin-
ium. This allowed the work to have
more impact as the work became
sculptural. Using still images from
film footage is a fantastic way to
capture movement and spontaneity
as opposed to using planned shots
from a stills camera. I add filters
to the film footage to make the im-
ages more ambiguous and dream
like. Film footage is also a good
way to capture light as you can
use the movement of the camera
to create streaks and lines of light
which look great when made into
imagery.
There is also a haptic element to
my work. I am interested in how
we use touch to ground ourselves
in reality, to bond with our sur-
roundings and other people and
how children use touch to learn. To
use this sense to appreciate art is
vital in allowing us to understand
how an artist works. Touch is also
vitally important to those of us who
can’t rely on our sight through dis-
ability. I feel that relationship that
sculpture and textiles have in com-
mon is that they offer more than

VIEW FROM HOME (ENLARGEMENT) just a visual element but have a
tactile quality

When, how and why started you ceived idea of textiles being more Tell us something about the tech-
working with sculpture? than just decorative or traditional nical equipment you use.
and thought of as just a craft by
I have only recently started to think pushing the boundaries of what it I use a variety of equipment from
of myself as a sculptor, particular- is possible to do with cloth. I want- fabric printers, soldering irons to
ly as I studied textiles at University ed to create textile sculptures that a sewing machine to stitch into the
and always described myself as a are both craft based and high art. aluminium. I am a real believer in
textile artist. The three dimension- My current work has led me to working organically and although
al aspect to my work has been a redefining how we recreate land- I have a rough plan of what I want
gradual process through research scape imagery. I wanted to create to achieve I often make decisions
and experimentation of materials images of landscapes that cap- as I go along and experiment with
and subject matter, although I have tured more than just a visual sense stitch, paint and wire which can be
always taken a cross-disciplinary but incorporated atmosphere, woven into the work. It’s quite an
approach to my practice. light, how it links to memory and intuitive way of working, but it is
I am really interested in the per- a sense of place and how we re- the only way I know.

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