In Paradise (Not for Me), light and sound protrude from two sculptures. One, cloaked in fabricated walls of party curtain, nods to the drama of the DIY drag scene in Leeds. Standing next to it, a sculpture swamped in disposable medical curtain evokes the pseudo-privacy and morbid curiosity of the hospital ward. MRI scanner samples and iconic pop songs within the audio bring two contrasting forms of performance into conversation, one uncontrollable and vulnerable, the other subversive and liberating. The lights within the pieces continuously change, from clinical white to frivolous pink; the uneasy tension of the ward morphs into an excited curiosity for what is to come.
Graphite on paper, curtain track, ring binders
A series of drawings displayed at Cut the Mustard.
Polythene bag, audio (5 minutes, 24 seconds)
A late nineties Madonna track forms the basis of the audio in Veiled/Unveiled. The base track is mirrored with banging sounds from an MRI scanner; partying is interrupted. The disjointed sound piece is simultaneously familiar, foreign and unnerving.
Jesmonite, red silicone
Sculptures, vibrant with their coating of red silicone, retain medical connotations through suggestions of prosthesis.
Somethings comin' over (mmm, mmm)
Kinetic sculpture, curtains, lighting
Figurative maquettes become protagonists in this scene, framed within hospital blue curtains. These characters spin and jolt at the hands of the motors, which are relentlessly more powerful, echoing the unpredictable permanence of diagnosis. The suspended spotlight denotes both a sense of theatrical performance and examination.