I’ve been working on series of print editions entitled short stories. The series will consist of single prints that represent larger bodies of work and in general haven’t been seen before. The first six archival pigment prints (50cm x 40cm) have been printed by the Fine Art Print Company on 300gsm fine art stock. These first six prints are available to buy for £85 + postage. Please email for further information.
The Mothership residency is based on an organic farm in Dorset. It provides the opportunity for contemporary artists working in any media seeking a secluded retreat and potential collaboration. The residency explores the themes of climate/weather, rural/social/political issues, land/agriculture, and is run by artist Anna Best Mothership web.
My ideas leading up to my Mothership residency were based around Daylight Saving Time and the ‘loss’ of an hour on October 30th. I had some pretty firm ideas of what I wanted to do. I was interested in what happened during this lost hour, and thinking about work that was time based rather than site-specific.
Once at the Mothership my ideas evolved as I decided to follow a more relaxed approach, an approach that allowed an element of play. Although still immersed in the concept of time I decided to follow my instincts rather than a pre-determined path. Consequently the work evolved to become much more site-specific.
In the end the three pieces of work I started and continued to make months afterwards are pretty dark, heavily centered on Autumn exploring the feeling of losing the light and maybe life itself.
Almost the first thing that happened when I arrived at the Mothership was finding a dead pheasant that Curly the dog had just killed. This was quite a shock and injected a dose of reality into an early conversation with my host Anna. This episode pushed my thoughts from autumn and darkness towards death! I collected some feathers and with a found object made a dream-catcher like pendulum that is the focus of the film loop.
Fall, leaves, Fall (Intervention)
The Mothership is surrounded by Woodland. These generate large amounts of timber; found stacked at various points around Copse Barn. The process of woodland management has interested me for many years, specifically since a 2011 residency ‘Rural Idyll’ in Suffolk. A particular aspect is the marking of trees for felling and the use of fluorescent spot marking spray. Numbers and lines are often found, but never letters and certainly not words. ‘Fall, leaves, fall’ aims to correct this by marking a timber stack with the first three lines of the poem Fall, leaves, fall by Emily Brontë
Fall, leaves, fall; die flowers away
Lengthen night and shorten day
Every leaf speaks bliss to me.
I transcribed the first three lines of the poem onto a stack of timber next to the Mothership allotment. The marking spray is not the easiest to use, and even though some of the letters are difficult to read I decided to just go with it and enjoy the process.
Forest Floor(Moving image)
I brought some solar powered garden lights with me to the Mothership, thinking I might make a piece of work with them. I was interested in way solar uses energy from the previous daylight hours to illuminate the darkness today. The rope swings hanging from the giant oak tree opposite the studio grabbed my attention. Their pendulum like motion akin to workings of a grandfather clock.
Although the use of solar lighting proved impractical I persevered with using a combination of torches and the rhythm’s rope swings created to illuminate the woodland floor. My work has always between as much about what you can’t see as much as you what you can see. Forest Floor plays with this idea, by revealing and then hiding the vegetation of the woodland floor, forcing your mind fill in the gaps.
Mothership residency Oct/Nov 2016
The EU Referendum and particularly the Brexit/Leave campaign is making me very angry. I am Welsh, British and European and feel proud of being all three. I passionately believe the UK needs to remain in the EU and am very scared by what will happen if we leave. I do not want to live in a little England closed off to other countries and cultures. I want to live in a forward thinking, multi-cultural country that cares about it’s people and it’s environment.
I have been thinking about what I can do to show my support for the Remain campaign. As an artist,other than talking to people, all I can do is to continue to make work that I’m passionate about. So I’ve been looking at the EU flag: it features a circle of 12 gold stars on a blue background. They stand for the ideals of unity, solidarity and harmony among the peoples of Europe. Coincidentally in reference to EU funding (European Regional Development Fund (ERDF); European Social Fund (ESF)) the UK is split into twelve regions. The work I intend to make will focus on these regions.
The first piece ‘Star Shaped Holes #5’ I’ve made focusses on the North West. It uses an image I made with my fathers Medium Format film camera in the Lake District; a quintessentially English landscape:
If you take away the stars then you lose your way..
utopia:dystopia is an ambitious series of exhibitions and events curated by Geoff Dunlop and Sophie Erin for Fringe Arts Bath during 2016. This creative initiative is inspired by the 500th anniversary of the publication of Utopia, Thomas More’s reflections on the idea of an ideal society. Since 1516, the year of Utopia’s release, the world has witnessed countless attempts to establish a perfectly ordered community, in reality as well as in print. Yet the frequent outcome of such ambitions has been the decay of Utopia into Dystopia. From no-place to bad-place. In modern times the two concepts seem inseparable.
I will be showing pieces from a new body of work ‘Cofio | Remember’. The work pays homage to the rallying cry of Welsh nationalism ‘Cofio Tryweryn’. This remembers the flooding of Twyweryn valley in 1965 to create a reservoir to provide water for the city of Liverpool.
Walking under electricity pylons in the Severn Estuary during a very foggy Autumn day, at times you could see no more than twenty metres in front of you. You could however hear the buzz of electricity. ‘Cofio | Remember’ re-imagines the purpose of the pylons, in that they are not in fact carrying electricity but instead transporting light, i.e. away from the area to somewhere else. It imagines a dystopian future when a communities light is taken from one area to provide light for another. With water becoming the new oil, whose to say light might not become the new water?
28 May until 12 June (10am – 6pm)
Walcot Gate, off Walcot Street
Bath BA1 5UG
Ystrad|Strata are very excited to be part of a cosmic mini-festival in Aberystwyth which will feature and celebrate aspects of future Wales. Visual artists, musicians, writers, performers and thinkers will gather for a day of imagining and creating future Wales.
With sci-fi and futurism becoming increasingly prominent in Welsh culture this event provides a timely opportunity to pull togerther the people working and making in the field together in one place. Amongst the artists taking part are the noted designer Hefin Jones whose Welsh Space Campaign and Cosmic Colliery projects have attracted world-wide attention. The headline band for the event is HMS Morris , bringing their cosmic pop-rock to the festival. The band were chosen as part of the BBC Wales Gorwelion scheme and have seen great success this year already playing to acclaim at Glastonbury and Festival No. 6. Supporting them will be the local electronic band, Roughion.
Arad Arad Goch Centre will be a space centre for the day with activities filling the building. As well as the music performances, there will be panel discussions on subjects such as literature, games, politics and art.
Canolfan Ofod Arad Goch Space Centre
Aberystwyth SY23 2NN
Sat 28th November 2015 (1pm-11:30pm)
Ticket sales and information on artists
I really wanted to enjoy my first trip to New York, but I also wanted to take some pictures. It is difficult to know how to respond to a location that looms large in our collective imagination. My main aim was to keep things fresh, and without resorting to cliché add my own dots to the puzzle of images already in our head. I also didn’t want to spend the whole trip with a camera stuck to my face.
By using a digital pinhole I let serendipity take the lead. This allowed me to ‘see’ through my own eyes rather than ‘look’ through the camera lens, and to remain engaged with the city.
I enjoy working with ambiguities: mixing a state of the art digital camera with a pinhole lens, working digitally to produce work whose square format references the past, and by blending colour with black and white. The image above is one of six pieces from my trip to NYC. On reflection they’re more about the notion of ‘the photographic eye’ and are an exploration into the unpredictable side of photography.
I’ve been dismissive about Instagram in the past, mainly because it can sometimes take the art out of photography. However using a camera-phone whilst out and about to snap anything that interests me, I’ve come to see the value in it. Until now these these images have been stuck on my phone and eventually end up on my computer. For many this is the best place, but some are pretty good and should be shared. I’m conscious that I don’t update my website often enough with new work, so Instagram is good way of regularly showing what’s grabbing my attention.
So, if you’d like to keep up-to-date with my random collection of camera-phone pictures or follow me on Instagram, please use this: DMD Instagram Link or the Instagram icon on my Home Page footer to link to my Instagram page.
‘in the distance’: 73cm x 73cm Giclée print / Ash box framed. Available as an edition of 5.
It’s always nice to be invited to show at the Grant Bradley Gallery, being the gallery closest to my home and studio. I want to see how you see is curated exhibition of photography selected from a diverse group of artists living and working in the Bristol region. The exhibition encompasses works of contemporary portraiture, landscape and social documentary. With no given theme, each artist displays the work that best represents themselves. I will be showing ‘in the distance’ from my ‘Built Environment’ series plus a short film ‘the light shines through’.
I want to see how you see
9th – 30th August 2014
Private view – Friday 8th August at 6pm
The Grant Bradley Gallery
1 St Peters Court
Bristol BS3 4AQ
Tel: 0117 9637 673
‘blown by the river’: 32cm x 47cm framed Giclée print, aluminium dibond mounted. available as an edition of 10.
As an associate artist with Walking the Land I am happy to be showing as part of ‘From the River and the Sea’. The exhibition will feature work by painters, printmakers, photographers and sculptors, please view the Exhibition eGallery
‘From the River and the Sea’
The Old Passage Inn, Arlingham, Gloucestershire GL2 7JR
Tel: 01452 740547
The exhibition runs from 6 May – 31 May
Tuesday to Friday: 11am – 10pm
Saturday & Sunday: 11:30am – 10pm
Walking the Land connect art, landscape and community, with the landscape and walking providing the catalyst for their creative activities.
‘From the River and the Sea’ is part of the Stroud Valley Arts Site 2014 Festival
‘dark matter iii’: 30cm x 40cm floating Giclée print, aluminium dibond mounted. available as an edition of 10.
For this years Bristol Festival of Photography I’m pleased to be showing a collection of images and one short film exploring the lure of the sea, at the wonderful Zion Community Arts space in South Bristol.
The Festival will run throughout May with photographers and artists showing at venues across the city.
The exhibition runs from 1 May – 30 May
Tuesday to Friday: 9:30am – 4pm
Saturday 10am – 1pm
Zion Community Arts
Bishopsworth Road, Bedminster Down, Bristol BS13 7JW
Directions: on street parking is available along Bishopsworth Rd and surrounding streets. The No.75/76 Showcase bus route stops opposite Zion and along Bishopsworth Rd. Parson St station is situated at the bottom of Bedminster Down Rd, approximately 10mins walk (uphill).