My two recent projects – ‘Huangshan Ltd’ and ‘Bamboo (Six Seconds)’ – mark a slight shift in emphasis in my work – though the progression to this point is clear from a stroll through my ‘generic’ portfolios – ‘land’, ‘sea’ etc. Both projects also share a framework which I intend to continue to pursue in the future. Below is my ‘artist statement’ which should explain all.
Historically cultures have turned to their natural environment as a source of inspiration for collective identification. Myths, memories and cultural virtues are projected onto the landscape which acquires iconic status, becoming imbued with moral and spiritual significance. Increasingly though, these bonds between a culture and its physical landscape are becoming eroded as we adapt the environment to our own ends rather than allowing it to shape who we are.
My work documents this rift, using natural ‘tools’ within the landscape to articulate this growing spiritual and cultural detachment. These devices have included invasive vines (Fault Line), atmospheric phenomena (Huangshan Ltd) and time itself (Bamboo (Six Seconds)). Hushed rhythms of meditative beauty are used to engage the viewer with disquieting issues and ideas, asking them to re-evaluate our culture’s changed and fraught relationship with the land. Powerful places are quietly told, the landscapes mediated by unease. The projects, through the lens of landscape iconography, address issues of conservation and ecology, ecosystem transition and the ethics of land use and ownership.