Thrilled to be selected by Emma Jones at Tate for Source Graduate Review. So exciting to be in this publication alongside such wonderful artists in my cohort, Falmouth University, Universities across the UK and Northern Ireland.
Selector’s Comment: It was the complex construction of these images, the cuttings, twistings and foldings, that really drew me in. The physicality of both photograph and object are well paired here. The black background is a clever aesthetic choice, meaning that these impossible buildings float in space and become almost three dimensional. Learning that these works explore the complexities of migration casts them in a new light – there is certainly something fragile to be found in the creases of these architectural forms, a hidden story that is waiting to be told.
Sheriff Oscar Carillo is tasked with finding the bodies of migrants who perished trying to reach the US. This desert area is unforgiving. Many migrants desperate to find a safe home lose their lives attempting this journey. Carillos task is to find them, often there isn’t much left.
Ferrier, Borderflow I. 2021 Ferrier, Borderflow II. 2021
Experimentation and visual exploration has been at the core of this series on migration. Since the begining of my MA at Falmouth I have been interested in what the photograph could be conceptually. This means that in order to break the boundaries of the photographic medium, I had to give myself the permission to practice without fear of failure. Allowing myself to practice without fear led to liberating and fascinating work.
My aim was to produce conceptual photographic artworks that could be appreciated in person within a gallery space. This would then be able to convey the sensory outcome desired. This made me anxious when preparing my Final Major Project. These constructed objects are thoughtfully made in what can be a time consuming process. Pushing the boundaries in small steps can be really rewarding so my explorations have continued almost seamlessly throughout the MA and overlapping modules. I felt strongly that my experimental approach was the framework underpinning my visual storytelling. This could allow the viewer to better understand my meditative approach to such a sensitive and divisive subject matter.
I am quite excited about this large scale fabric print. It will be an excellent piece for my solo show at Sawyer Yards-Gallery 100 next year. The space at Sawyer is fantastic. I am well aware of the amount of work up that needs to be done ahead of my exhibition in February. I have received the site plan from Grace Zuniga, Sawyer Yards creative director and will work on layout plans in the next few weeks. This way I will be able to identify areas that need work ahead of time. Thrilled that I will have space for my 60ft handprinted unique state print of migrant journeys.
Words used in relation to photography and making art. Hunting, shooting, dissecting, disrupting, cutting, folding, removing, hiding, concealing, manipulating. All these words relate to how I make work. Some of these words can and have been used when reporting the treatment of migrants.
Delighted to have been shortlisted for AOP Places. A really wonderful selection of work was submitted, it was an honour to be included alongside such amazing talent. Grateful to have the opportunity to be included in the online awards ceremony.
Sawyer Yards is the venue for the next two shows of annual Houston Fotofest. Covid has reduced the art spaces available for the next few years.
Last week I met with Grace Zuniga who is the creative director for Sawyer Yards. I am thrilled to have locked in this fabulous space, Gallery 100 at Sawyer Yards for my MA exhibition. My solo show will be installed at these repurposed silos during the month of February 2022.
This photograph shows current work Oritatami Nendo : Folding Clay by the wonderful Jodi Walsh.
You can see this wonderful venue at the link below. Sawyer Yards shows the annual Houston Fotofest