Above: Stills from the We are becoming the horse film
I’ve seen some photographs showing how you created the Lake series which are really atmospheric, can you talk me through the process?
I was making a lot of paintings about different forms of energy in the body and exploring the different waves of energy we experience. Originally when I produced the paintings I wanted them to feel extremely fluid and to depict all the forms of energy we experience on the spectrum, from hyperactivity to irritation and energy driven anger. I eventually began to understand that energy in the body was an over controlling thing, which I tried to show in the paintings by using paints such as enamel blacks and inks. However, after making the paintings and seeing them side by side in the studio I wasn’t pleased with them and they didn’t seem to be fluid at all or very energetic or reference the body, so I decided to be self-destructive and take them to a lake - an environment which I saw as very fluid and still dominated by nature, not humans. I then decided to walk into the lakes with my paintings and started drowning them under the water whilst also getting myself very wet and cold in November. I was so much happier with the result as everything felt heightened by the environment afterwards. The paintings in the lake had connotations of body’s now, and the water magnified the colours. To date I think it is still one of the best works I have ever done.
Your work seems really diverse and experimental, is there any particular influence or theme that links it?
My practice consists of film, sculpture, painting and installation. I am driven by environments, humans and animals and in particular the emotional impact that 21st century life in the city has on humans and how our species adapts to it, creating odd narratives in site-specific locations to express this. I often use animal analogies as a metaphor for these themes.