Everything is Connected
Using the immediacy of my iPhone camera, as a method of gathering and recording, I regularly shoot filmic vignettes as conceptual and visual prompts. This is often done directly and intuitively, a kind of soaking up of the surrounds I find myself in, at a particular time and place.
It is often a combination of cause and effect, tipping points and how things connect and relate to one another that interest me most.
These observations can suggest and compel infinitesimal gestures, such as throwing a stone into still pond. Then later, and on reflection, this action and it’s effect can develop into something of further physical and conceptual magnitude.
I have learnt to take this intuitive, observational process and playful method, seriously. This directness, because of it’s immediacy, does not discount the creative significance and influence to the rest of my practise, which can involve making large-scale sculpture that can be physically and time intensive to achieve.
The iPhone slow-motion setting acts as a type of microscope, whereby the intense detail of the movement of subjects, affords an almost forensic behavioural understanding. It captures nuance, variations and transitional states hard to see with the naked eye alone.
The speeding up of the time-lapse setting, notices and logs a different magnitude of amplified patterns of behaviour. It is more urgent, and covers conceptual ‘ground’ from a different vantage point.
The still images, shown here, act as bridges and connections between the initial source and prompt of ideas, as well as the recording of completed artworks.