Tunguska Event

My mind has been blown! I’ve just been told about a colossal explosion that took place in Russia in 1908. Apparently, the explosion over the sparsely populated Eastern Siberuab Taiga flattened 2,000 km2 (770 sq mi) of forest yet caused no known human casualties. The explosion is classified as an impact event, however, no impact crater has ever been found, and it is thought that the actual impact was caused by the air burst of a meteroid that disintegrated at an altitude of a mere five to ten kilometres (rather than hit the surface of the Earth). More info about it here – https://en.wikipedia.org/wiki/Tunguska_event

I’m fascinated by the idea that something so epic could take place in outer space, and have an such an enormous impact on the earth and environment. I’m now VERY excited to try to watch BBC Earth’s “Best of 2016” list http://www.bbc.com/earth/story/20160706-in-siberia-in-1908-a-huge-explosion-came-out-of-nowhere to find out more about “the explosion that came from nowhere”.

Whispering Woods

I have this idea to create an almost hyper-real soundscape experience of the creaking sound of old trees, drawing on the folklore associated with enchanted forests, the experience of wisdom passed down by the ‘wise old woods’ that talk – all that contained knowledge. I’ve been giving thought to the kind of trees I’d like to record ‘talking’ – as so many woodland areas in the UK are managed by the Forestry Commission, who are getting rid of a lot of non-indigenous trees, I’d like to record in arboretums and old stately homes in order to capture an ‘international conversation’, as in between indigenous and non-indigenous trees – trees that bring such breadth of perspectives to the ‘conversation’. Perhaps working with arboretums / estates might open up opportunities for exhibition opportunities too, I don’t know, but it’s a thought.


Shining Light

This series of  intimate oil paintings draws upon my interest in the personalised nature of decision-making, of pathways in art and life, and the way that one’s environment can dictate direction, consciously or otherwise.

I’ve been developed an active interest in the earth’s layers, and the earth’s relationship with its greater environment, over the past few years – intrigued by the moon, sea, land, magnetic forces and tides tides, Shining Light looks specifically at the romanticism of stargazing, and the way in which people have navigated using the night sky, and looked to the stars for direction in love and life throughout history. The idea of greater forces being at work dictating behaviour on the ‘surface’, and pathways that most are totally oblivious to both fascinates and frightens me, yet I do firmly believe that elemental forces as having the capacity to offer great personal perspective.

Frequently drawing upon Lacanian theory in my work, I’m interested in the layered nature of understanding, this is represented in this series of work through the depth of colour of the oil paints she I’ve selected (working with two of the slowest drying pigments available) for these paintings, and contrasting flecks of constellations that allow viewers to consider their position in time and space.

In short, the work is a visual allegory for the necessity of, and the difficulty in gaining a 360 degree understanding of any subject in order to fully comprehend a situation, and make informed decisions as a consequence… posing the question as to whether or not we ought to merely follow our gut instinct, and be guided by ‘that star’ that shines brighter than all the rest yet changes according to the environment its seen in.


Studio shot of Shining Light paintings

This series of works places emphasis on the mystery, beauty, and romanticism of one’s relationship with the galaxy, and those relationships we harness within in, whilst also inviting the viewer to acknowledge the enormity and influencing factors of what lies beneath and above ‘the surface’.

The work takes its title from the song Shining Light by Ash – a song that resonates from my youth, and also had me humming Constellations by Darwin Deez, and by Far Out by Blur, whilst painting the works.