In terms of a timeline, without trying to sound romantic in anyway, all the work dates from 2013 up until now. I've been working out of a few different isolated studios in Herne Bay. The solitude of being here 95% of the time alone, means there's nobody, other than myself, to critique any work I made. The more time goes by, I'm starting to appreciate the daze that living like this produces, and the power of the subconscious over the conscious. I was watching a Philip Guston documentary recently and he talks about how paintings are made through him rather than by him. Kinda how I feel about the work in this show, and it's almost as if I'm a viewer of it as much as anyone else. To put it plainly, I wanted to exhibit a selection of the work from this time but without all the bullshit and sugar coating that generally goes into art exhibitions.
I've got a lot of energy and emotion invested in the work, but regardless of that, if there was an aim, it would be for viewers to come and develop their own thoughts or feelings towards the work rather than being spoon-fed some kind of idea or meaning. The Artaud No More Masterpieces essay has been an influence along with a couple of Sontag's essays, The Aesthetics of Silence and Against Interpretation. Overall there's a definite 'less is more' idea floating about. Sontag spells it out quite well...
‘Once upon a time (a time when high art was scarce), it must have been a revolutionary and creative move to interpret works of art. Now it is not. What we decidedly do not need now is further to assimilate Art into Thought, or (worse yet) Art into Culture.
‘Interpretation takes the sensory experience of the work of art for granted, and proceeds from there. This cannot be taken for granted. Think of the sheer multiplication of works of art available to everyone of us, and the conflicting tastes and odours and sights of the urban environment that bombard our senses. Ours is a culture based on excess, on overproduction: the result is a steady loss of sharpness in our sensory experience. All the conditions of modern life -- it's material plentitude, it's sheer crowdedness, dull our sensory faculties. And it is in the light of the condition of our senses, our capacities (rather than those of another age), that the task of the critic must be assessed. What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all.