'A HARLOT'S PROGRESS' SHORTLISTED FOR SKY ARTS FUTURES FUND PRIZE, 2012
'A Harlot's Progress' was based on reimaging Hogarth's original narrative but in this instance in relation to drugs and gangs starting from school to incarceration. The narrative was conceptualised in an over-sized hand made and illustrated pop up book. William Hogarth is one of my favourite artists due to his social commentary of London and engagement to help those communities. His practice created the pathway for modern comics which are a growing influence in my work.
RESEARCH BASED APPROACH TO PRACTICE
Whenever I creat a piece of work I essentially have set myself a brief or question and the research and fieldwork then subsequent artwork itself is the excercise or working out to reach the answer, like an equation if you like. The research and fieldwork are fundamental to my practice as they dictate and inform the planning of the practical work of making the artwork and the skills that maybe necessary to realise that. For the 'Peshmerga' series I taught myself how to use comic/illustration digital software to push forward the concept of layering that was repeating itself with each project. It took me a long time to reach the point of the image on the left, to adapt my visual language within a digital concept. The intuitive nature of the way I work, where I work out ideas on the page, digital or hard canvas mean that different tools feel different and I had to learn the craft and I am still learning. This first illustration was then to feature as a cut out in the final mixed media artwork that incorporated, arcylic ink and paint to plasticine, bone and black pearls.
Project name and description
Research incorporating fieldwork can span from extensive reading surrounding the subject, especially where I am unable to be in the specific environment or community relating to the project or to deepen my understanding in preparation for that engagement. Where possible I prefer to document the enironment and my experience with the community via written and visual journals and photographs as this creates an intimacy and foundation for the story that will become the artwork. I return to that research continuously throughout the project to anchor the work in the experience and empirical knowledge I have gained. For 'L. God' I had been in L.A. and seen the homeless there and the signs held by those identifyng themselves as war veterans. In Sierra Leone, it was the individual stories from the people I met that stayed with me and overall that experience was integral to refining the methodology for this critical part of my practice. Link to 'Past Projects II' and 'Past Projects Gallery'.