a fine artist (based at Oldknows Studio Group in Nottingham, UK) who explores evolving notions of cultural identity and associated existential issues using film, live art/performance, installation, painting, music and anything else that takes my fancy.
About my artwork
my practice is ideas driven and, although I am still excited by the extent to which post-modernism invites and embraces a multiplicity of post aesthetic approaches and narrative interpretation, I have a huge respect for the formal values that have shaped (and continue to shape) the evolving discourse/s of fine art. I tend to use a lot of found objects in my work, objects that are pregnant with association. Often I imbue these objects with a sense of stylistic/associative unity by painting them with bold colour/s. Like the artists whom I admire, I strive to make art that is visually arresting
Artists I like
Mark Wallinger is my fave rave; he tackles profundity with wit, others include my Oldknows Studio colleague Simon Withers, my erstwhile Oldknows colleague Samson Kambalu, Cornelia Parker, Rebecca Horn, Picabia, Man Ray and their contemporary: Cyril Seaton, 'the sexy surrealist from naughty Nottingham
all art, all creativity, music/s, wine, drinking, eating, cooking, reading and walking in wild landscapes with my wild family
What exhibitions are good at the moment?
an unlikely series of urban texts, airspace gallery, Stoke on Trent
Hey Chris, thank you for commenting on the interview. Yes, I do get many reacting to my 3D Event, perspective on sculpture. It's always nice to hear. Yes, the Cold War event is a great example, the performance of sculpture. Now when you think back at that wonderful night, the blurry images that resonate in your mind represent my photographic installations. Those images will always be the highlights of the experience, which remain/add/mark/define your being, as all the Soviet/US flags sticks and cocktails no longer exist nor can you relive it ever again. It's a one shot deal. My art is existential-istic in that respect: live and eat it first, write and document later, otherwise you wouldn't be qualified. Your exhibit proposal, the Future is Beige sounds great, love the concept. I can't wait to see the photos, write me when you post them. Have a great weekend, Damo
Chris, thank you for the critical analysis, great observation. Yes, Existentialism. Issues and concepts indicating simply being, there's a huge field of wonder in of that itself, the human experience, no real need for surrealism, just look inside. Stay in touch.
non mi esprimo bene in inglese perciò ti scrivo in italiano. Trovo interessante il tuo lavoro,ma devo avere tempo per entrarci dentro. C'è molta roba e come molti lavori artistici serve tempo per essere meglio apprezzati.
thanx Yewy. Maybe a performance will be undertaken on the strength of your recommendation!
Regarding the white shirt, it's referencing a number of things: white cotton was much beloved by the Victorians, who believed that 'cleanliness was next to Godlinesses', so it's emblematic of English Protestantism/spirituality. But I'm also referencing the white shirts of the Crusaders and their contemporaries, the businessmen of the 20/21st centuries who conquer foreign markets rather than soil (or, in the case of Iraq, sand). 'Holy Trinity' (which caused a stir when it was exhibited as part of 'North + South' at Southampton's City Gallery last Autumn) is an essay on English spirituality. In addition to the white cotton shirts I used (suspended) pants and hankies, as if god the father, god the son and god the holy ghost are dancing/performing a rite together. Like the shirts, the (utilitarian but not sexy) Y front pants are quintessentially English, protestant and male. I'm also, through them, exploring the extent to which God is still perceived as being male, despite his ostensibly nurturing/female characteristics. And some (hard-of-thinking) people still believe that man was made in God's image. If so, how (if at all) does he support his genitalia? If he's English, he probably wears Y Fronts! The hankies reference another aspect of English spirituality: (pagan) Morris Dancing, so the whole thing is a sort of critically affectionate exploration of the history and function of English ritual. As one who was christened into the Church of England, was a novice member of a Morris side, a white shirt wearing company director (1994-2004) who was inspired by Jung's analysis of the primacy of ritual, I feel thoroughly vindicated in presenting and defending this piece (in fact I really enjoyed the flack)!