Artist Statement

Through indicative processes of drawing, and a socio-political lens, my practice is an ongoing investigation into what happens when information is mediated, reproduced, narrativized or, in some cases, weaponized.

Mediated information has been explored alongside performative masculinities, representations of violence, and, most recently, campaigns of misinformation throughout the COVID-19 pandemic and Black Lives Matter protests. Much of my theoretical framework uses elements of autobiography, the unreliability of the narrator, and anti-capitalist analysis.

The process of each piece of work is intended to reflect its result. This could mean painstakingly detailing the pixels of code belonging to images of war, impulsively and compulsively sketching out daily entries into Lockdown Diary, or illustrating unambiguous and graphic protest art. This could mean a work graffitied onto the sides of a fire storage unit, or videoed and compressed into GIFs to be mass disseminated, or simply drawn into the pages of a cheap notebook and kept as an archive. Increasingly my work is driven by function.

There is no such thing as being apolitical. "Art has always had a necessary social coefficient" and as artists I believe we must invariably come to terms and be judged through the question: 'what is to be done?'. 

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Consensual Crimes, 2020. Graphite, charcoal, etching on polished aluminium