My work interconnects the ideas concerning action and process of drawing and the ensuing ontological parallels where I suggest that; the definition of past and future have become hazy.  This idea is defined in the 1958 BBC TV series Quatermass and the Pit.[1] Set in post war London the films suggest a compromise in the order of time: a historical past - that is present - from a space-age future.  

The writer Mark Fisher argues Lost Futures[2] insofar that creative culture (specifically Music) increasingly evoking and conjuring up the past will eventually dissipate the markers synonymous to contemporaneity.  An arrest in modernity, a retardant future, a slowing or confusion of time, a misunderstanding or disorientation of time and place is an experientially ghostly experience that fuels my work.

“Arisen” Collage, tape, graphite on paper, 86 x110 cm.

“Arisen” Collage, tape, graphite on paper, 86 x110 cm.

My aim is to evolve the work to the point of transformation. Materializing into some-thing or other. To the point of not- being or disappearance but essentially I have found nothing fully disappears. I discovered through this transformation the things that appeared are like artifacts from history with some sort of significance, a feeling of presence, a sense of nostalgia and references to the uncanny remain. Although not by chance, I played a significant part in these results, a little like a conduit, but more like a fraud spiritualist performing an séance haphazardly stumbling upon our cultures popular Ghost.

[1] Cartier, R. (Writer). (1958). Quatermass and the Pit [35 mm (some segments) Video (405 line)]. In R. Cartier (Producer). UK: BBC.

[2] Fisher, M. (2013). The Slow Cancellation of the Future Ghosts of my Life: Writings on Depression, Hauntology and Lost Futures (pp. 6-11): Zero Books.