What will it entail?

Public art 101.
Death, mortality, fear, preservation and elevation.

The aim is to direct my public art piece toward “the cost of living”- metaphor.
A kind of play on what our real cost is to live……and/or what price we are prepared to pay? Surgery, medical, pharmaceutical, preservation. I want to highlight our innate human resilience regarding mortality, be it our very own or that of ones we adore. also I endeavour to tie in my empathy for inanimate objects, and the human compassion and connection we hold for objects of memory and emotion. We as a nation, and through numerous generations have demonstrated our need for existence/clarity/closure/significance.
I aim to highlight the real costs of our existence whether it be time, sanity, soul, or simply monetary. Media more so in our generation is a voyeur for the trends, compulsions and needs of the super rich. surgery, modern medicine, cosmetics and fashion all drive the preservation train. Leaving the lower classes to rely as ancestors have before them, on instinct, religion, folk law, education and time. Yet without global media and surgical precision the Victorians turned to developing science, philosophy and the arts to demonstrate there fascination with death and preservation.


The Victorians are an influence to behold on their complete indignation of death and are great advocates of preserving life through photographic media. There is a unique, eerie quality to their approach, but it’s still only perusing the ultimate unanswered question of death and it’s enigma. They where fascinated with concepts, and in the dawning of new industry strove to define existence, meddled with wives tales and turned their persistence into ultimate artistic beauty. We see examples in the photo documentation above, the discoveries in surgery and modern science, yet they still fought infant mortality, low life expectancy and the full weight of religious belief. Stories where written of life giving through science and mechanics, macabre creatures that evaded death, walked the shadows of life and death, and evoked the long secret thoughts of generations past.

I want my art to speak similar languages to that of the Victorians, develop and build on what yet we cease to understand, what still we refuse to except, and most of all to be unique, conceptual, and in dedication to the YBA’s a “short sharp, shock art yet realist” piece that can and will be informative yet decisive, emotional yet truthful, and above all my cognition.


Art Basel 2013: Miami


Words, Pictures, Humor

I went to Art Basel Miami Beach for the first time last week. It was definitely fun to get an eyeful of the Warhols and Picassos that you’ll probably never see otherwise, because they’re essentially moving from one private collection to another. But, since I’m not really in the market to buy a $20M Jeff Koons, I was less interested in that big convention center hoopla (I did an “intentionally poorly taken iPhone photo” review of that exhibit over at Curator Magazine). Luckily, there are tons of other things going on during Basel, and there’s something for everybody, even in loo options, as evidenced by these:


Also during Basel week there are incredible art fairs showcasing lots of other up-and-coming artists, one-off installations like FAILE & Bast’s vintage video game arcade, memorable parties like this one, and the orgy of street art going on in the Wynwood…

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What is it i’m trying to say?


My practice has always been about key focuses, life, death, process, decay, empathy, preservation and elevation.

when it comes to putting my work to the scrutiny of the public i’m more than slightly anxious!  My thoughts? my feelings? there are complexities in my work yet to be muddled over by oneself, let alone attempting to explain them to an audience.  Ordinarily i do not profess to be a activist nor demonstrator but i guess i do wish to ask of the population a meagre poll………….it’s finding the most direct, adequate and pertinent programme that will speak volumes without me saying a word.  I have some organic visions to say the least,  i am often clouded by en masse of thoughts, feelings and experiences trying in vain to include therefore neither discard my feelings nor memories.  I think i want to tell a story, i also want to deliver a message……whilst also broaching myself as a fresh face, there is a lot to consider.

Here is the list of potential competitors that grapple at my grey matter daily; (we being human lifeforms)

What do we understand of preservation?

Do we preservate to elevate?

Are we afraid of death?

Flesh and metal?

Mechanical after organic?

These thoughts are a circuit in my apprehension, they are constantly striving to tell the public what it is i want to say, i want to demonstrate my need to preserve life, my obsessions with the organic and mechanics, and the global abhorrence amidst death.  I suppose i want to tell people of the wonders of modern surgery and medicine, of the cadaverous nature adopted through Millenia to preserve and cheat death, the reference to literature, fantasy, folklore, history and religion, and most importantly my interpretation, representation and cast to be developed, juggled, scrutinised and regarded.

To be continued…………….




Visiting lecture series HSAD




This for me is a write up of a no show lecture, the day of it being my birthday.

it always seems strange to me when i see posters, flyers and other ephemera with my birth date on, makes me feel important and slightly immortal if only for the duration of display.  I therefore was not there to understand the atmosphere of the lecture nor could i comment on my personal experiences, but with the aid of my fellow word-press peers and modern technology i have put together a little write up, it may be that it offers a fresh take on the entry’s of others and a dimension not yet faceted.

This man looks and appears to act like a typical scot, now i can say typical as my family has strong connections with Scotland and i have a love for the breed, its in my heart that man, he of tartan that history.  But that is aside from the point, i had the pleasure of Mr Bridges webpage and his small but beautifully composed video gave me the insight i needed to see the direction in which he takes his practice.  After his graduation in the mid 80’s Eoghan has exhibited both group and solo works and fulfilled the titles of commissioned and private collections.  Born in Scotland, Eoghan now resides in Yorkshire and makes the most of his time discovering more dimensions to the relationships between horse and rider and the human form within sculpture as his practice preference.  

His most recent works shown on his webpage video are not spoken as the video is purely visual but the words speak as loud as the collection of works presented.  We see the words….FRACTION, UPRISING, DECONSTRUCTING, SEPARATION and alongside the fun in the appearance of his sculpture you feel a certain angst within the bowels of this work that make it both beautiful and questionable both.  These words speak volumes of a history of Scottish struggle, yet they also show the gentle nature of such natives and the strong narrative of nature the outdoors and home.

He makes use of his skill of drawing to bring his works to life in a 3d form, his use of bright colour and abstract and evident in abundance within his drawings, yet his sculpture is restricted to stone gradients and somewhat cold colours, it would seem that the ideas about a subject are almost polar in their comparison to his sculpture.  Just lately his human forms seem to be of a refracted state able to be deconstructed, yet illuminated, they are incredibly beautiful yet pained.  There is mention of uprising and a strong conitation to the male human form, face and the relationships with balance, beauty and subject to that strong relationship between the subject and his rider/keeper.  It could be debated that it holds the strength of being male, the courage of his heritage and the feelings that grew with him from boy/man/artist/practitioner, i feel the messages are suggestive of a deeper meaning and it saddens me that i was not there to hear his voice change in pitch and strength in the areas of his work ethics and practice.