As an artist working with memory and loss I appropriate the impermanent and transient, and by way of collecting, archiving and indexing, re-present it in a final memorialised form.
Central to my current work is the concept of artist as assimilator, controller and curator. Integral to each work is an initial word-based research period – a filofax of facts. There follows a process of curation as archivings of loss are re worked, re-ordered and arranged for view. Permanency of the final solution is important. My constant choice of the museum presentation acknowledges the special relationship between collector, curator and exhibit – a contract of permanent care.
Over the years my practice has evolved along interdisciplinary lines, always underpinned and referenced by memory and memorial in some form.
Part of my practice has been an interrogation of my Jewish heritage and occasionally a work will emerge that becomes part of an ongoing citation to family members lost in the Holocaust. Over time this has become a way for me to say Kaddish for my grandfather for whom Kaddisch – an ancient Aramaic mourning ritual - was never said.
Much of my work is three dimensional and uses or reuses found objects although recently I have begun using drawing again. I have a necessity to story tell and will always offer the viewer a multi layered narrative within my work. However political the subject matter I aim to draw my viewer into the work before asking them to contemplate further.
I often refer to myself as a multi media project artist and am happiest working within a project or commission format; often collaboratively. The most recent project has been a collaboration with artist Ros Barker on the Farningham Hobby Horse Project. Part funded by KCC and the Kent Cultural Baton the project aimed to remake - and reawaken the memory of - an ancient horse fair once held in the village of Farningham and involved the entire village community. The project is currently touring Kent by invitation......
