Q1: New beginnings. Is there a sense of exorcism or catharsis in this show? What is a return to wood indicative of?
New beginnings wasn’t a conscious change in my work – I work in an organic way, and after 2 pieces I struggled with, I felt I’d pushed my way of working so far one way, that it just pulled back, and became a new delicate approach. . I guess my life is changing as im to be a father this year, so I’m assessing everything subconsciously. . it just goes the way it goes, i just start with colour and shape and form and let it grow. . wood was because I like to really layer and attack with pencil and scribble in a aggressive way, I wanted to try it again. . I like the rawness of it.
Q2: Why is there often beauty to be found in the sinister?
I dont know if there is, I try putting the two together to create the edge- but years ago I was making forest paintings, silhouetted pieces of trees, and it was that edge again, the beauty in the creepy woods -like the little red riding hood tale. . maybe there is beauty in the sinister, like a crow is eerie and nature is harsh, a crow will eat a pheasent, a swan will eat a duckling on the pond in front of children ! Nature is cruel and yet beautiful.
Q3: How do you imbibe your work with narrative?
I begin the journey with something that then interacts with something, a form a shape a volour , then it grows, its consciously a feeling of ‘this needs this’ and I look at it until the story and balance and piece is right. . it seems to capture a richness I love due to the fact that I never plan the work-Im working out the puzzle as I make it. .-
balance . .they often start one way and end somewhere totally different
Q4: Does working with brands have any impact on the art you make? Do you see that work as separate or part of your body of work?
I think I cross over and collaborate as I trained in communication media and illustration,
So doing book covers and album art was how I trained, not fine art-I love seeing a painting on a silk scarf,or wallpaper,I find it fun. . actually I try not to think about these things when Im making the piece, but I couldnt help think recently that this new one would make a great dress, as I was making it, so maybe it will change the process a bit. . its all linked though. .it also gets my work into places that normally I wouldnt be seen, like the store in hong kong im dressing in November, filling it with silk scarfes, prints and dresses, cushions, etc…
fashion and art has always crossed over.
Q5: You seem to work a lot in the very A-political lux retail and fashion environment, which somehow seems incongruous with the provocative and sometimes political work you make. Why is this?
Because we as artists love to get it out there, I mean, I find the prospect of a fashion collaboration or a tshirt really exciting, as I collect tshirts and love Vivienne Westwood and how her punk tshirts in the 70s were so outrageous people would be arrested wearing them, gay cowboys for example, and Jamie Reids Sex Pistols art – Peter Blake I love too, his Beatles collaboration or Paul Weller artwork- thats just what artists do, interesting projects, its part of survival, part exposure, but mainly as its fun.
I say no to a lot of stuff. It has to be right.Its a tricky balance to get right.
