Cartography has an axial influence on my artistic practice. The very gesture of creating a map bears so much weight historically, I grapple with how to use, but subvert, cartography as a visual form of communication given how extensively it informed and helped execute European imperialism, and today still divides land, people and cultures. I think of using maps to depict moments and places of play, myth and the absurd as ways of breaking with this tradition and its problematic history.
1:10,000 (2018) is part of an ongoing body of work that blends personal, fantastical and representational cartographies. The collaged geometries on the composition are lines of light that were rendered by scanning glass map sculptures. The longer I looked at them, the more anthropomorphic they became to me, and so I decided to represent them as creatures or spirits in the spaces I create in my compositions. The imagery is based off of a blurry photos taken, GPS data, and other mediated image making processes of liminal spaces, signifying a changing landscape as a result of post industrialization and post -urbanisation. The marks and strokes can bee seen in transparent, three-dimensional space (from the front, back and the narrow width of the side of the panel), but still exist on a two-dimensional plane.
Shown at Joyce Paddock Bliss Gallery at Carroll University as part of the group show, (dis)comfort zones , 15 January - 13 February 2019.