Language is the foundation of civilisation. It is how we communicate, express ideas, present information, and understand one another. However, I believe that our systems of communication often fall short. We as a species are too complex for our own systems of communication. How can we truly express ourselves if the intricate emotions we experience are intangible? The structured nature and strict authoritarian rules of language often fall short in capturing the intricacies of human emotion, reducing the depth of our experiences to a series of symbols and sounds. The subtleties, nuances, and shades of meaning that colour our thoughts are inevitably lost in translation, leaving gaps that words alone struggle to bridge. Confined by cultural and contextual boundaries, our languages are also susceptible to misinterpretation.
“Language is the foundation of civilisation. It is the glue that holds people together. It is the first weapon drawn in conflict.”
- Arrival (2016 Film)
Based in Surrey UK, I am a Contemporary artist who recently graduated with a Fine Art Degree from UCA (2023). Post-graduation, I have been discovering new avenues of interest, and actively engaging with my local community and the NHS to curate exhibitions and support others in finding the confidence to put their work out there into the world. I draw inspiration from a range of artists, such as Ed Ruscha, Christopher Wool, Carl Andre, and Richie Culver. I often use various mediums, including print, installation, and the ready- made. My artistic evolution started with explorations of consumerism, advertising and transitioning to the incorporation of slogans and brands, and is currently focused on presenting my work as a question that delves into themes like language, desire, hierarchy, and society.
As a human, I believe that language is a flawed system of transport for what we think and feel, but it is the best that we have. As an artist, I see language as a material. A malleable, fluid, sculptural element that contains the pure essence of what it means to be human. Our words reflect us and who we are, in a space between language and meaning.
My practice explores the noise and fluidity of language; allowing our words to run wild and attach themselves to the personal and lived experiences of the viewer. My work is heavily conceptual, encouraging the viewer to contemplate their own relationship with language and its underlying structures and associations. I also aim to disrupt their expectations and preconceived understanding of how we communicate with one another. While it is an essential component of communication, it is not just limited to spoken or written words. It can be found in everyday objects that we encounter in our daily lives. These objects speak their own language through their culture, context, and history. Considering topics like semiotics (the study of signs and symbols and their use or interpretation) we can highlight the ways in which objects communicate with us through their visual language.
In “Cool Your Jets”, I explored road signs, combining a system of information that tells us what to do and where to go, with a playful twist on words that challenges us to think critically about the power structures that shape our world, and questioning the viewers assumptions about authority and social hierarchy. Like the text-based artist Ed Ruscha, I like to include a sense of humour and playfulness within these ‘word sculptures’ that I create, using different arrangements and expressions to create a space in which language can transcend its conventional roles.
My investigation into how I can exhibit the fluidity and life of words led to the manifestation of a piece, titled ‘Silence Reflects Noise’. Language already has a fluidity, but I wanted to discover how we could reflect this in a physical body of art. The mylar blanket and its reflective surface inspires us to feel considered within the work. Like language, as we flow through the room, our reflection adapts to fit the dents and folds of the reflective blanket. The main element of this work is the bold black italics that read “Silence Reflects Noise”, representing the materiality of the object creating a ‘visual noise’, while the language stays mute. The blanket is light and weightless, so it rustles and moves with our movement in the room, creating a peaceful environment for self-reflection, but it becomes a contradiction within itself when the words are disrupted by the loud physical nature of the material. It is a battle between the tangible and intangible, a conversation between what can be held and experienced.
My artistic inspiration stems from the everyday, capturing sentences that resonate in advertisements and movies. Echoing Ed Ruscha's approach to 'power words,' I've immersed myself in idiomatic sayings such as "in the doghouse" or "over my dead body.” As I explore this conceptual playground, these sayings evolve beyond linguistic quirks; they become my chosen medium, sparking contemplation on the intricacies of language. Like Ruscha's 'power words,' my works, such as "Over My Dead Body," aim to redefine expectations. Placed strategically at the entrance, this 'floor sculpture' invites viewers to reconsider not just the physical space but also their interaction with the artwork. The unexpected sight of visitors delicately tiptoeing around the piece, unsure of its function, added a surprising layer to the overall experience.
In my artwork and the diverse world of wordplay found in poetry and other text-based art, what captivates me most is the absence of absolute control for us as artists. Armed with a medium that allows the exploration of complex ideas and messages presented simply and directly, we release our work into the world. There is an inherent mystery in this act—I can't predict the impact or shape the perception it will evoke. It's a delicate dance between expression and interpretation, a dance where the audience holds the reins, guided by the words I've craft- ed. In this fluid exchange, governed by the unpredictable nature of language, art becomes a shared experience— an intimate conversation between the artist and the observer, each contributing to the rich tapestry of meaning in their own unique way.
Comentários