An Exchange At The Bulkhead (2016) HD single-channel looping video, dur: 5'27''.
The video was developed for the project Bulkhead Exchange. In the work cast and adapted objects are super-imposed on a virtual space comprising of a montage of found footage – including images of underwater salvaging, magnetised forms and home renovation diaries. Through this collision of images reference is explored to orifices, entrances, mass, weight and scale.
Bulkhead Exchange (2016) Documentation of an exhibition at Tannery Projects. The exhibition presented recent drawings by Sarah Macdonald and sculptures and video by Jamie George, informed by a dialogue during the production process. The exhibition was framed by three poems by poet Richard Scott – responding to the forms and references running throughout the body-of-work. The project looked at how virtual objects can become physical, and how actual objects can become virtual. The body-of-work sought to develop new interconnections between hard and soft forms, reference and language – an exchange taking place at a ‘virtual’ spatial partition, a bulkhead.landscape, the project explores these concerns using a specific found and cast object as a focus.
Bottoms (2016) Image from large format tinted xerographic print series, 2 of 8, each 80 x 120 cm.
The prints depict an array of sourced surfaces and forms speaking of, and to the intimacies of objecthood, making reference to orifices, mortuary slabs and bodily forms.
After Living (2016) Excerpt from HD single-channel video, dur: 7'19''.
The video centres on a set of items inhabiting a place of failed dwelling – found, unearthed and, or excavated. Acting as the genesis for this work are a 1955 film by Charles and Ray Eames House: 5-years After Living and Michael Haneke’s 1989 film The Seventh Continent. The works’ ephemeral location becomes progressively manifest through the scrutiny and activation of the objects – intercut and superimposed onto found images.
We Build (2016) Images from a series of large format xerographic prints, hand-tinted with coloured wallpaper paste, each 160 x 240 cm.
The body of work comprises of large, hand-tinted prints, depicting virtual spaces constituting of, and inhabited by, objects and sufaces made from scaleable brick patterns. The work was created for the event Togetherness : Sprawl, part of the project Togetherness: Notes on Outrage, South Kiosk, London. Shown alongside the work of Joe Townshend and films of Gordon Matta-Clark.
Untitled (Splitter) (2015-16) A series of large format xerographic prints hand-tinted with coloured wallpaper paste, 80 x 120 cm & 160 x 240 cm
The project, comprising of large hand-tinted prints, explored materials, objects and forms in relationship to the body, collapse and monumentality in refers to Michel Serres' book Statues (1987).
Not Really Now Not Any More (2015) Excerpt from HD single-channel looped video (dur. 3'33'') and installation view of accompanying print
series – large format xerographic prints hand-tinted with coloured wallpaper paste, 5 of 25, each 80 x 120 cm.
Not Really Now Not Any More uses Alan Garner’s young adult fantasy novel Red Shift (1973) as a starting point – the project title taken from the last sentence of the book. In Garner’s novel an axe-head exists between a present and various pasts, an object – witness to time. The video depicts various axe-heads, located in a diaphanous ‘virtual’ location – an amalgamation of images of encampments, forts, rural landscapes and views from a motorway footbridge. Accompanying the video work is a large series of hand-tinted prints showing sculptural works in various display incarnations. Red Shift is primarily a novel about adolescent despair; pieces of the three narratives are alternated inan inconsistent pattern, calling special attention to their similarities beyond the landscape, the project explores these concerns using a specific found and cast object as a focus.
A White Flag (2014-15) Image from large format tinted xerographic print series, 4 of 26, each 80 x 120 cm
A body of work responding to the Cocheme Fellowship awarded in 2013, hosted by AIR Studios, Central St. Martins, UAL. As an artist-in-resident I worked directly with teenagers at an alternative education institution in North London – examining notions of adolescence and objecthood. The resulting work is a series of 26 hand-tinted prints. The images depict an array of sourced and cast objects alongside vector-print motifs and drawings hand-carved into painted plaster. Thanks to Anna Hart and AIR Studio, Mark Couzens and Sparkplug.
Hands Up (2014) lmages above of a series of 4 limited edition multiple off-set prints, each 30 x 40 cm. The work was begun in 2012, whilst working at Vasl Artist Collective Karachi, Pakistan. The series was
reprised and completed in 2014 in Karachi.
MY(WE) (2012) Jewood Visual Arts Project Space presented a commissioned body with Katie Schwab. The exhibition, comprised of new sculptural and photographic works and collaboratively produced publication, which was made available for visitors to take away for free. The work featured in the exhibition was developed through a period of research undertaken separately and collaboratively, and responded specifically to the architecture of the JVA project Space and the ways in which it is commonly inhabited by visitors. The publication incorporated this research, in the form of a short story written by Schwab and a two-part text written by myself entitled On Collectivity, On Loneliness.