Through small acts of customisation in the photographic realm, RESIDUES OF CUSTOMISATION contemplates the behaviour of advancement in the digital age. 

My practice explores a digital age where the remix, a regeneration of information, becomes default and acts of customisation become rewarding. Drawing on the manner in which Big Tech presents devices saturated with customisable preferences, I question how habitual acts of personalisation may dilute the strength of the decision, the fact or the finish. 

Hosted by a photographic practice, my enquiry utilises the fluidity of the analogue image and considers how it may accumulate audible and three-dimensional qualities through regeneration. I loosen up the construct of the photographic darkroom, trading out the safety of the red light for a techie blue-light brightness. 

RESIDUES OF CUSTOMISATION imagines the character of the remix as one that erases the guilt of indecision, with customisation as reward. 

RESIDUES OF CUSTOMISATION, Active Scenario with SoundTrack, 2021.
This image displays three different photographs.  The left and right hand side image display variations of the work RESIDUES OF CUSTOMISATION taken from an aerial perspective. In these images, linear structures are positioned on a wooden floor. The black and white photograph in the middle of series displays a silhouette of a mobile phone. On the screen, the sequence 55m 42s can be faintly read.
Documentation of Scenarios of RESIDUES OF CUSTOMISATION, 2021. // 55m 42s, Pinhole Negative, 2021.
This image displays an installation shot of RESIDUES OF CUSTOMISATION in a wooden room. In this scenario, three art works positioned in a new formation, creating horizontal lines throughout the shot. The largest image held in the structure named ROTATIONS, ROTATIONS, ROTATIONS is largely indistinct, displaying a black expanse with a small, brighter outline in the centre of the image. Another structure in the background (STREAMY MINUTES) displays the sequence 55m 42s.
RESIDUES OF CUSTOMISATION, Scenario including ROTATIONS, ROTATIONS, ROTATIONS, SUPERVISOR and STREAMY MINUTES, 2021.
TWO PLATES OF GLASS TOUCH TOGETHER, Sound with Narration Visuals, 2020.
This row displays two images of objects. The objects are fashioned out of metal shapes, some recognisable as car hubcaps. The hub cap work displays a roll of small, black and white photographic images, which work their way down the face of the hubcap in a waterfall manner.  Other works present small photographs in vessels of water, making the images appear wet.
DIAGRAM, 2021. // SO SPEEDY?, 2021.
This image displays a metal trough that is filled with a shallow amount of water and carries three small photographs. The black and white photographs display images of technological devices such as laptops. They float within the water and appear wet.
AQUEOUS DEVICES, 2021.
This image displays three variations of MY POWERPOINT DARKROOM, which is a work that uses an open, car roof box to display smaller sculptural works. In the largest photograph, the roof box contains the works AQUEOUS DEVICES and the DIAGRAM, as well as a pair of red, equipment tongs. Two smaller, black and white images of MY POWERPOINT DARKROOM display variations of the contents of the roof box. These images document the modular quality of the work.
MY POWERPOINT DARKROOM, Including DIAGRAM and AQUEOUS DEVICES, 2021. // Documentation of Scenarios of MY POWERPOINT DARKROOM, 2021.
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Fine Art - MA (Hons)

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