Changing statement

Prompted by Samuel Brzeski's artist statement research, when he asked: "Can you describe your artistic practice in one sentence?" To which I responded:

"Often using conversations as my starting point, I make work involving people, power, voice, text, control and mediation (if you ask me in five minutes it will be different)".

From February 8th 2019, I will write a new artist statement every week and archive them here:

19.4
More often than not, I use conversations as my starting point. Without them, I do not think I could make work. Are the works some kind of appendage to those conversations then?

12.4
It's a thrilling possibility that my work can fail, but I cannot set out to do that.

5.4
Something consistent – moments of stillness, waiting, suspense, between moments of fear, desire, thrill.

29.3
To pile layer upon layer until something becomes a dense mass, or a wall of noise. Paradoxically, this can make things more transparent. A mathematician who studies computational algorithms said I was good at 'interpolation', at bringing together seemingly disparate elements (don't a lot of artists do that?). On the other hand, I'm trying to steer clear of my tendency to think in opposites and contradictions, to make oxymorons. Because isn't this a typical trope of artist statements?

22.3
Faithfully, I include energetic traces in my work, such as repetitions, pauses and incompleteness. I want to pay closer attention to these qualities – mapping where pathways of meaning are opened, and where they are closed, instances of non sequitur.

15.3
What is the relationship between writing and drawing? It's a shame that both are often associated with skill. I think I try to write like I draw: to make marks, and draw like I write: to articulate something.

8.3
My art practice is your art practice and your art practice is my art practice.

2.3
I like to use drawing and printmaking as an analogy to my methodology: to explore the impact of force and gesture and to throw something into relief to make it visible.

22.2
Jeg bor i Bergen på Skansen. Jeg kommer fra England. Jeg snakker Engelsk og veldig liten norsk. How are power structures imbedded in written and spoken language?

15.2
As far as my art practice is concerned with literature, it is about conversation, transcription and the vernacular. I’m interested in the different ways in which words are spoken to each other as well as in chat-based communication; everyday acts of listening, reading and writing that are at once together and alone – especially now.

8.2
Bold as it may sound, I see a pattern of me responding to any subtle power dynamic with antagonism (as a starting point), or maybe this is the still vital combination of wishful thinking and my insecurities. It was said that I seem to find the awkward thing in a situation and then to amplify it, put the audience on edge.