Stuck in The Sediment of Suffering (2017, mixed media on paper)
I’m writing this in a world that is a week into the Trump administration. I can’t yet tell if it’s caused the biggest cloud of confusion and panic since the Twin Towers came down (it’s shock certainly eclipses the event that’s stuck in the middle of these – the financial crash of 2008), but it is certainly a ‘Super-massive event’.
I bring this up because it’s also caused a crisis within my creative output. I’ve found myself in doubt not only as to whether my work is relevant in the midst of this ‘mania’, but to whether or not art has validity when panic emitted from all media orifices makes experience so fractured.
The last thing my work aims to do is to generate a sense of hopelessness and hatred of the world, but one largely un-constructive and, I feel, unjustified comment left on here a month back did force me to question whether this is the affect of my work in many eyes.
As dark as the images can be, they are in their essence self-helping rejections of a powerful and pervasive agenda that is itself, I believe, the source of the hopelessness and hatred. They are a ‘fuck you’ to its realism, even if they fall short of aiding the materialisation of a viable alternative.
I started Stuck in The Sediment of Suffering in the month of the presidential election and, at the time of writing, am still working on it a week into the Trump administration.
What is it about? Of course, when a work takes months to make, a myriad of mindsets (or a myriad of me’s? ) have their say, but the decisive meaning is within its conception, hence the title.
It is the sister work of the recently finished Hope of The Nihilized. Both were conceived in the space of two days. Both works not only desire/long for, but demand, an active transition from a capitalist system now condemned to be a wheel spinning furiously in the deep mud of its end point, causing only senseless trauma and decomposition, on the soil and in the soul.
Stuck in the Sediment of Suffering looks at the persistence of class, wage slavery and it’s discontents, in a time when the necessity of material scarcity, and immiserating and humiliating work and social conditions is totally debunked by our technological capabilities. It looks at how these structures are not only persisted with out of convenience but also out of a deeply rooted sense that lifelong suffering and punishment is somehow right (views that can easily make unwarranted appearances out of the mouths of friends as much as they can from perceived foes). I disagree, believing that it creates a cycle of needless social violence.
However, I’m starting to feel like this drawing marks an end point, not only to a body of work that has tried to reflect life from run up to the 2015 UK election to the 2016 US Presidential Election, but to a stage of my life. I’ve been making these large drawings for ten years, and there’s many things I haven’t and want to do in life, regardless of whether the world goes to war tomorrow or the air becomes poisonous. Most my adult life has been stunted by self-esteem and emotional barriers, a path which I’m trying to take pigeon steps away from now. But without going into all of this (as it isn’t largely relevant, and I don’t want to encourage online ‘life advice’ I don’t need – I’m just explaining the facts), it may just mean a large gap, or a point of juncture . It may not – if I’m posting new landscape drawings on here in a few month it may well mean I’ve returned back to the only tools that have thus far worked.
This month 10 years ago I made a breakthrough within my work. The disjointed, erratic visuals that I was using to give myself voice suddenly came together. It was the first term of my final year of my BA degree. I can honestly say this breakthrough, and the momentum it was generating, made this one of the most special, if not the most special point in my life so far. Waged work, and the inevitable social pressures such environments put on you have tested my sense of self worth over the following years. But although I may not own, or even rent my own property, have a highly valued job, or a partner in crime as I head further into my 30s, I’ve still got my artwork. It’s still ploughing on.
Novmber 2006 to November 2016
Gathering together 5 years’ work centered around large scale pen drawings; landscapes that depict the human condition pitted against the huge environmental, social and existential threats of the 21st century. A noise that fills everything.
Opening night Friday 16 May, 6:30 – 9PM
Saturday 17 May – Thursday 22 May 2014
Gage Gallery, KIAC, The Lion Works, 40 Ball Street, Kelham Island, Sheffield, S3 8DB