b.1995 - Brierley Hill, West Midlands
How can you infiltrate an unsuspecting, un-wanting, un-academic audience? The method of practice is reactive and intuitive, work is both playful and pertinent to the current political climate and working-class culture. Film, sculpture and public interventions aim to reflect a pathos of everyday life, subverted and situated in disguise. A film of a solo singer, plaintively vocalising the virtues of New York in an empty city centre Coventry Coventry - 2019. A collection of newspaper headlines proclaiming events in Dudley that become accidental satire, the sublime of the unremarkable 33 Days in the Black Country - 2019. A pebble-dashed bin with a money-spinner sits on a street corner asking you to throw your money away Bankroll - 2020. The sculptures work as double-edged swords, A stick of rock symbolises social imperilment, subverted and bearing a pun. You have to enjoy it; you are on holiday, but it sucks Brexit Sucks - 2018. The relapsing objects of childhood memory are remade and reformatted as art. Universally representative of a specific time and place in England and reflect the experiences of growing up in the post-industrial town of Dudley, my primary source of insight and muse. Forging the concept of Dudley is a universal metaphor for most of the country, places that exist on hope and promise but trail pathos and disappointment.