Can you tell us a bit about your work and its themes, which is currently on show at William Benington Gallery and why it was chosen for the show?
The exhibition Land | Reland [London] at William Benington Gallery is running concurrently with Land | Reland [Portland] at Upfor Gallery in the United States.
A theme that runs throughout my current practice is a concern with the reclamation of objects from the native landscape and the transferability of form. In London, a series of inanimate and natural forms from Oregon are thrust into the spotlight. Several conflicting geological textures suddenly take naturally to each other as they are forced to adopt a new habitat on both sides of the Atlantic.
Physical artefacts are displayed in London and then imagery of these specific objects are exhibited in Portland and vice versa. The duality of both shows highlights my process of the appropriation of form and the successive layering of new and former shows. I continually return and reuse existing ideas and materials allowing them to land and reland, resisting the finite and creating an endless cycle.
What do you enjoy most about the relationship between landscape, architecture and sculpture?
Throughout my work, there is an unremitting movement from sculpture to architecture and then back to sculpture. I thrive on the opportunity of presenting a new narrative to the viewer that is ultimately site specific to the surrounding architecture. I enjoy the process of directly drawing on architectural plans to create a site responsive exhibition that ultimately connects all three. This process of making enables me to research, respond and make architectonic forms that relate sympathetically to the space.
After studying art and geology, I find myself trying to find ways to respectfully add and edit objects once they reland in a new context. For me, it is about finding a way for artefacts to reconnect and reconstruct the past. The boundary between Art and Architecture (Artitecture) is often blurred with works sitting somewhere between the real and the imagined. Using both natural and city scape materials, I see the works as communicative landscapes that retain and later reframe contemporary architecture.
In regard to producing art, what’s the most memorable piece of advice that has been given to you?
As an artist, I feel I have a responsibility to be respectful to all of the objects I work with including their past, present and future environment. My work is rooted in a complex conversation around our relationship to both natural and synthetic materials. I aim to highlight the coexistence and codependency between both and raise awareness about sustainability. For example, some of these materials were set to be discarded as waste or crushed to rubble and now suddenly they are being elevated to a mode of archive within the exhibition space.