The work I make always centres nostalgia, memory and sentiment. Accepting our collective forgetfulness, trying to find celebration in it, even some whimsy. Letting the remembering, and mis-remembering embellish all it touches in a thick maudlin shroud. It is almost exclusively sourced, and occasionally produced, in and from moving image in its many facets. Many other mediums are of equal and larger importance; primarily drawing, often charcoal, very large and quite tiny. As well as installation involving objects and furniture mainly found, sometimes sought after. Writing, collaboration and on occasion some foray into performative events and happenings.

The silent film slapstick comedy of Buster Keaton has been the basis of much of the material subject matter of my work since I first found him. This form of comedy, its systems of storytelling, its bodily grander, it’s recycled and eloquently simple sets. Of equal importance has been the consideration of the birth of the film star, their iconography and the passion and place of their fans. The foundation to this all has been my fascination with film as a temporal medium. Its ability to turn bodies into apparitions, preserving moments, occasions, visual collections of time, to render them endlessly consumable. The live subject becoming a ghostly object, and staying that way, for as long as the viewer may desire it.

The work thrives in gathering and clutter. My practice has to function in miscellany, and this begets a conversation between a variety of pieces. Everything made is an extrapolation on a memory. Together they constitute the ramblings of a dream remembering. This is where the celebratory and whimsical thrives. The illustrative discussion between decorative items of furniture and the drawn charcoal adornments to their backs, will always gravitate towards the love of embellishment, romancing the ornamental. It is part and parcel of memory, wrapping itself up in a bow about its half recollected source, which is always shrinking. The narrative behind these fixtures is appropriated and reconstructed in variance to its source. But it can never stray too far from its tendency towards homage. As at the source of everything made, is a loving fascination with the material that originates it. Through this ideation I am trying to facilitate the cinematic image, rubbing up against the physical world, and recording the slippages.
The soft dark charcoal representations of the sets of Keaton’s films sit at the back, decorated by furniture, and other drawn ephemera; little portraits, half written sentences, a scribble that hints at handwriting. It cant help but feel theatrical, these elements conjure a stage. As in the traditional drawn or painted stage set, the location of the event is flattened. In the same nature that sentimentality passes memory through a mangle, in an attempt to fathom it. Either way this creation of a stage, always produces a kind of anticipation. The sense that something will occur. In this manner, through my practice, I attempt to lay traps for these filmic ghosts.