My natural disposition is to work in abstract terms of physicality; my practice day to day revolves around ‘sculpture’ but stretches out into photography, printmaking and drawing.I have a long-standing research interest in the thinking behind objecthood in ‘sculpture’ and how object orientated/ speculative realist ideas can reanimate this thinking- put simply how the contemporary condition affects our consideration of objects. My dissertation focused on the effect that object orientated ontology has had on objecthood in sculpture, whilst also discussing about its effect in the wider art world and its potential as catalyst for a more free thinking art world. Through this dissertation I looked to open up a discussion about what I believed to be dated predefined terms, which hinder the material and conceptual advancement of art, whilst being upheld by the ‘elite’ who look to use these terms to categorize work for capital gain.

The recent body of work I shown at my recent degree show explored the grey area between the terms ‘myth’ and ‘history’. Crossed with this I am looking into the idea of ‘the digital’ and how it may effect the telling of histories in the future. With the sheer amount of information being produced in the present day by anybody who is so inclined to share their thoughts and, I am looking to draw a Hagelian-esque dialectic between the myth of King Arthur and the condition we, as consumers of content, currently find ourselves in. I am concerned with our ever-increasing reliance on digital media to chronicle our history, that our histories will share a similar fate to the chronicling- or lack thereof- of the 4th to 6th Centuries in Britain- albeit in the inverse. Conversely, if this doesn’t happen, we will present future generations a chaotic, overly saturated account of our times, totally incoherent and full of misinformation. The work I am making is, at its heart, a critique of our condition utilising Speculative Realist/ Object Orientated ideas as the basis for the development of the work.

During the summer leading up to second year began to develop a method of ‘digital archaeology’ in which I take sites of Arthurian significance, create three-dimensional maps of these sites and then bury speculative objects that fit a narrative. From here I digitally degrade the objects in the landscapes through data-moshing. What comes out is totally uncertain. Through this work I hope to open up a discussion of digital authenticity and objecthood in the digital realm.