Thoughts and musings on my creative practice:
Imagination is everything. Whilst technique and research are essential, I believe imagination is the most important ingredient and the artists’ most precious asset!
Someone once described my work as having a ‘haptic’ quality. I liked this. I believe that whilst powerful, the visual sense has been allowed to dominate and that touch, textures, and other senses can communicate more powerfully - can they transport us to worlds, past or future imagined. If you want to run your fingers over something I’ve made, I’ve succeeded.
Process is everything. All the work you’ll see on this website are in fact freeze-frames of ideas in motion. It’s good practice to work to briefs to reign in (infinite) explorations and create ‘resolved’ points from which to launch discussion but I am really more interested in the process of finding out, articulating ideas and finding form for my thoughts as I go.
The materiality of things is key in my work. What effect can I create with ‘x’? What happens if I combine ‘x’ with ‘x’? I’m always disappointed when I see an artwork listed as ‘mixed media installation’ - tell me more!
I oscillate between purposeful creating - wanting to create this effect or learn that technique and intuitive creating via objective-less experimentation. Sometimes I only find out ‘why’ I’ve done it and how it fits retrospectively.
Anything to do with the future is my jam. The further away and more remote that future the better - only then can we really start to suspend our beliefs, detach ourself from our current anthro reality and really start to dare big.
Right alongside imagination is fiction. A powerful device for world building via the visual, haptic or linguistic. I like to bring together scientific concepts or art philosophies and wrap them in context.
I want to use art as an invitation to let people in and share in the dialogue. I want my mum to feel as welcome as a curator.
I tend to work on multiple streams of work at once. I have an excitable mind and switch up modes of working to keep my output active and fresh. I may jump from a clean, digital modelling task to a filthy wax casting. This should not be read as distraction or boredom but an intentional tactic for purposeful production!
I am interested in the entanglement of everything. I’m fascinated by the fact that all matter in united. Elements, chemicals, biology, technology geology are all fused, reacted and interconnected. How can an artist use matter to represent all or note of these forms? And illuminate these relationships?
I align with post-human philosophies. Privileging the human species over other species and viewing the Earth as our territory and not a shared dominion is not correct.
Whenever I am feeling despairing about the state of the world and the challenges ahead, I step back and reignite the wonder I have for the world. I am eternally curious and in constant awe of ‘nature’ and of natural systems and its ability to work it out, problem solve. I always take comfort in the reassurance from Dr Ian Malcolm in Jurassic Park, “life finds a way”. Little wonder that I have such fascination for origins, forms of life and evolution.
If you are interested in any of the above be it my approaches as an artist or themes of my work, I plan to share a ‘curriculum’ of links in due course.
I’m Becky, a London-based artist examining how humans are impacting the development of life on earth through the intentional and unintentional blending of biology and technology. My explorations have seen me invite the public to explore future environments through their noses at Life At The Edges, Science Gallery Dublin; present Speculative Materialities for The Royal Society; talk about Radical Ecologies with other artists reframing their practice for a sustainable future; and collaborate with scientists in Edinburgh’s Biodesign Lab among other research activities. I also run ‘Elastic Nature’, an interdisciplinary art research club exploring the future of nature. I have recently graduated from Central Saint Martins with a Distinction in MA Art and Science where I was awarded the Tension Gallery Prize for Fieldnotes from a Technobiocology. When I’m not making art I am a trend researcher and forecaster for a number of international platforms with specialisms in design, technology, sustainability, culture and futures.