Image credit: Miriam Rudolph
Flesh seeps into every aspect of my work. Sometimes it is barely suggested and sometimes it is overt: a hand, a knee or a whole body, or a pile of visceral strands that evoke flesh only obliquely. In death, flesh has become meat. It is no longer an animal and it is not yet earth, although it exists somewhere on a continuum between the two. It is not animal and yet a fractured version of the taboos of the body still clings to it. It elicits the same feeling of conflicting repulsion and attraction that a body does, and in an indefinite way it even has the skeleton of an identity. Flesh marks the transitional moment between animate and inanimate; it is dead and yet it is suffused with a history of being alive.
These themes are both universal and intensely personal. During summer 2016 I was diagnosed with a disorder that caused my immune system to attack the platelets in my blood. I have never been more aware that my flesh has an existence that is independent of mine. I have never felt more mortal. Not Yet Earth is both an attempt to understand the unique character of flesh and to regain a sense of control over it. The dead flesh is my drawing tool and my creation. Through manipulating it I impose my will on its existence and also by implication upon my own living flesh. Conversely, in becoming an extension of my body, the material acts upon my substance and changes it in return.
I am a Scottish visual artist, currently living and working in Edmonton, Canada, where I expect to recieve my MFA in printmaking from the University of Alberta in Spring 2018. I comleted a BA(hons) at DJCAD, Dundee, in 2012. I have exhibited in juried, group and solo exhibitions at galleries and artist-run centres in the UK and Canada. I have taught drawing and printmaking both at the University of Alberta and in Sambaa K’e, NT, where I was artist-in-residence in 2014. I have upcoming solo exhibitions at Alberta Printmakers, Calgary and Martha Street Studio Gallery, Winnipeg.