Sometimes a feeling is all we humans have to go on. Archival pigment prints, 30.5x22.8cm / 12x9", 2024
Sometimes a feeling is all we humans have to go on. Archival pigment print, white frame, 35.5x27.8cm
Sometimes a feeling is all we humans have to go on. Archival pigment print, white frame, 35.5x27.8cm
Sometimes a feeling is all we humans have to go on. Archival pigment print, white frame, 35.5x27.8cm
Sometimes a feeling is all we humans have to go on. White ski mask coated in concrete, zine publication, 2024
Zine publication, 32 pages, 28 black and white photographs, soft cover, staple bind, 2024
Zine publication, 32 pages, 28 black and white photographs, soft cover, staple bind, 2024
Zine publication, 32 pages, 28 black and white photographs, soft cover, staple bind, 2024
Zine publication, 32 pages, 28 black and white photographs, soft cover, staple bind, 2024
Zine publication, 32 pages, 28 black and white photographs, soft cover, staple bind, 2024
Zine publication, 32 pages, 28 black and white photographs, soft cover, staple bind, 2024
Zine publication, 32 pages, 28 black and white photographs, soft cover, staple bind, 2024
Sometimes a feeling is all we humans have to go on. From left: zine publication, photocopies, masking tape, concrete wash, white ski mask coated in concrete, 2024
Sometimes a feeling is all we humans have to go on
Using the balaclava as a symbol of terror, the works in the exhibition Sometimes a feeling is all we humans have to go on, considers the psychological aftermath of conflict. In this installation, the memory of violence is reconsidered beyond the traditional representations of war.
Together, these harshly lit still life photographs and concrete encrusted balaclava sculptures do not attempt to represent conflict but rather inquire as to the possibilities and strategies of using art to generate new encounters with the violence of the past and our memories of it.
Using the balaclava as a symbol of terror, the works in the exhibition Sometimes a feeling is all we humans have to go on, considers the psychological aftermath of conflict. In this installation, the memory of violence is reconsidered beyond the traditional representations of war.
Together, these harshly lit still life photographs and concrete encrusted balaclava sculptures do not attempt to represent conflict but rather inquire as to the possibilities and strategies of using art to generate new encounters with the violence of the past and our memories of it.