This body of work showcases a collaboration with materials.  This collaboration generally occurred at two levels: the selection of materials whose lives originated for a different purpose, and the artist’s response to their inherent properties.  

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They in turn are informed by a narrative of migration and its intergenerational effects. The plywood offcuts are remnants from previous projects, readapted into new work.  Forms shaped by plasters and pumice intimate the byproducts of forced displacement and increased disorder.

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Cardboard boxes, an ambivalent material, are perceived as a symbol of a system designed to generate profit from cheap labour; here they suggest two readings, one is the drive of aspiration for a better life, and the other is a homage to those who delivered a better life to the coming generation. 

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Working with these materials also demanded a response to the incidentals of their unexpected behaviour. Like gifting another vocabulary to a sentence, these incidentals pointed to the resolution of each work.

 

The sense of these works, engendered through their materials and assemblage is at times contradictory, at others complimentary. It evokes senses of detachment and attachment, presence and absence, contact and separation, abandonment and reclamation, permanent and transient. 

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Ultimately, the process of making is a way of engaging with the byproducts of displacements and emplacements.  Working with the repurposed materials, and assigning them with a new identity, suggests a making good– reordering the disorder.

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