Against Ingres

Poem

The Art of disappearing

Poem

Ruined estates

Poem

The sprain

Poem

Night Sonnet

Poem

The sewing room

Poem

Mythos

Poem

Winter Harmonica

Poem

The silence of objects : forming the unsayable

The silence of objects phenomenologically explores the experience and memory of trauma through object-based artwork. It springs from a desire to map difficult psychological terrain and does so by tracking the process of a coming into 'expression' to communicate notions of loss, detachment and powerlessness. It maps a journey from silence to a forming 'voice' that gives shape to the unsayable. This practice-led research is multifaceted. Whilst the creative element uses transformed objects as material metaphors to tap into the sensory and affective operations of art, the written component blends reflection with theory and is informed by art theorists Jill Bennett and Mignon Nixon. By establishing a dialogue between theoretical constructs and creative works I consider how giving form to deep consciousness can counter the effects of trauma manifest as silence and invisibility.

So far north

Short story

Last goodbyes in Havana

Poem

Garden Apartment, Taube

Poem

What feels true? : sifting through belongings

This practice-led research project explores how, after a successful first experience writing a poetic solo theatre work derived largely from autobiography, I sought to find personal connection and satisfying ‘authenticity’ in the writing of a more difficult, nonautobiographical second work. Via reflections on practice, through an autoethnographic narrative, the project also evokes a practitioner’s struggle to self-educate, survive personal, life-changing loss, and manage heightened professional stakes. In doing so, it reveals essential lessons in acknowledging, accepting and following ‘what feels true’, to remember and consider in future writing.

Provisionality and the impossible task of painting

This thesis explores Raphael Rubinstein’s notion of provisionality as detailed in his influential article from 2009, Provisional Painting and his subsequent exhibition of the same name from 2011. Rubenstein’s writing is discussed in relation to modern art’s rhetoric around the many ‘deaths’ or ‘ends’ of painting as a contemporary art‐making medium, particularly in reference to Yve‐Alain Bois’ 1986 article, Painting: the task of mourning. While Rubenstein predominantly views the provisional via an abstract lens, it is through the work of Sigmar Polke and then Luc Tuymans, Peter Doig and Daniel Richter, that I build an argument to include the work of contemporary representational painters within his notion of provisionality. These new ideas of provisionality are then examined in the context of my recent paintings, which are viewed as contemporary examples of provisionality extended into the representational.

Life cycle of the eel

Poem