The basis of my practice is extensive research- the assembling of visual, textual, and aural materials which map the terrain of my subject matter. In this instance my subject being the redundant structures which dot the Thames estuary, off the Kent coast.

Redsands was one of a number of fortifications designed to extend Britain’s air defences into the Thames estuary during the Second World War. Its original purpose served the forts remain as a surreal man-made archipelago slowly deteriorating into the sea. Over the decades the forts have hosted pirate radio stations, a commune and the occasional artist.

Though the subject matter is quite specific, through my working practice it takes on a broader abstracted quality, and by deploying a wide range of techniques and materials I aim to chart in the words of Italo Calvino ‘the relationships between the measurements of its space and the events of its past’( Italo Calvino, Invisible Cities, p10, Vintage Classics, 1997)

This involves the creation of works which exist in the space between the permanent and the ephemeral; this dichotomy is mirrored in the character of the assembled objects and the combination of media.

A limited range of colours in the pieces has been used, to suggest the relationship between the imaginary and the real, the conjectural and the actual- the slippage between the two is implicit throughout. In particular the relationship between the two dimensional and three dimensional work and projected film. The intention is for the viewer to cross and re-cross the threshold between these poles, navigating through different representations of space and time.

My influences include Tacita Dean, Francis Alys as well as the writings of the ouvroir de literature potentielle (the “workshop of potential literature’), whose members included Italo Calvino, Georges Perec, and Raymond Queneau.