Throughout the last 10 years my practice has developed in a number of unexpected ways, exploring a variety of different media. Whilst studying for my BA in Fine Art at De Montfort University I worked with more traditional art forms such as printmaking and eventually sculpture, exploring the idea of creating systems to make art and developing work that focused in equally on the outcome and the processes used in its creation. This manner of working continued into my MA studies at the same institution, eventually leading to experimentation with lighted forms, exploring how light itself could be manipulated as a malleable material with which to further my ideas: In essence light itself became (and still is to a great deal) my primary tool to produce work.
Much of the physical output of my practice straddles the divide of digital processes versus analogue, many pieces working to combine digital technology with physical inventions exploring how these two very different processes can interact and inform each other so as to create something entirely new and exciting. In other strands of my practice I even try to use one to imitate the other, such as using an OHP projector and coloured acetates to mimic the basic functions of digital projection mapping or creating entire environments with the intent of using them to distort the appearance of projected imagery in a similar fashion to digital editing software, breaking them down and distorting them.
One of the continuing themes that has arisen within my experimentations with light is the duality that comes from such a material; much of my practice revolves around my attempts to reconcile the fact that light can exist within a space visually seemingly without making a physical impact upon it. Like many artists before me, I have made attempts to capture the sense of sublime of this intangible material, trying to discover ways in which to contain light within a space or trace its movement across a room, transmute it into solid matter or exploring how light can have a completely transformative effect upon an environment despite its lack of a physical form. In essence it functions almost like a modern-day alchemy.
In recent years, I have taken many of these elements of my practice and started a journey of Practice-Based Research at De Montfort University, the focus of which is exploring the effects of ambient lighting in urban environments upon the development of lighted artworks intended for public areas. What this means is that in order to develop both my personal artistic practice and my research practice is that I am beginning to develop artworks that are intended to be situated outside the gallery environment, sited amongst the urban sprawl whilst still functioning effectively.