Paintings of Wichita Falls Tx.

Having used the swimming pool drawing I produced as a starting point for my work based upon my childhood town Wichita Falls Texas I have taken some of the stylistic elements within the drawing and applied them to other places that I recall from living in Texas. For this I have taken screenshots of google maps, illustrating a connection between nostalgia and technology, discussing the way we consume our own lives through internet based tools. Also the images offer a certain amount of distortion, provided by the fish eye effect that the spinning google camera creates.

Below this can be seen a variety of images that I have taken from street view and applied to paint. I used acrylic on paper for these paintings, specifically cheap acrylic paint in order to create the naive element that I liked so much in the previous swimming pool back yard drawing.



Dreams, Nightmares, Hallucinations



             While a lot of my recent artworks are rather bound by earthly design, I’d like to take a look back on the work I was doing based upon my dreams. Particularly the monotype prints, and the paintings that I was producing towards the end of my first academic year at Chelsea college of arts. I feel as though I had a good footing into what could’ve been something well executed, as I was finding means to integrate my practice with the experiences I personally have with my dreams. To demonstrate my experiences previously the sub conscious provided a sufficient driving force behind my creative direction and took me on a journey through Beat Generation writing and poetry, and fed into my monotype series whereby I had an image in my head, but was blind when it came to the production of the image on print as I etched into the ink. These are pictured below.


            For the continuation of this series, I’d like the explicitly discuss the true nature of my dreams, nightmares and hallucinations for what they truly are – a sleeping disorder; Parasomnia. Parasomnia is described as a sleeping disorder that pushes the individual into actions that they are completely aware of (at least in my case) that take place while a dream is projected onto the surrounding reality, almost like being trapped in virtual reality. These hallucinogenic experiences have resulted in a lot of anguish, but also a certain amount of intrigue that I’d like to divulge through my artwork, that I have kind of been ignoring for the past year and a half. I’m in the process of creating these works, only on a small scale currently, however I plan to make these larger as final manifestations of what I have seen. I’m intending to capture the whimsicality of these dreams, and how disturbing they can be. Beginning with this poem of an experience I have had in the past few weeks.

In the night he stares

In the daytime I’m unsure of where.

he goes

at night his shirt is removed and why, 

he’s so small, and round with little hair 

the ceiling gone now, I’m in a doll house of some kind. 

None of that matters

in possession of the wire that he waves, rubber seal removed at the end. 

No sparks, just electricity as it is 

he tries to wrap it round my neck 

I’m about to die, several times. 

            This dream recurred throughout the month of November of 2017 at irregular intervals, most of the time it surprised me, but I managed to get used to the character of the dream and felt bored by its persistence. The character became more and more vague as time went on and faded into obscurity, the ceiling became a problem for him, as that was his only way into my bedroom, for he was unable to use conventional doors. This is just one example of dreams and hallucinations born of sleeping disorder, with many more to create upon. I have been taking a look at the work of David Lynch recently, as much of his work is of this vein of whimsicality.

Twin Peaks Dream Sequence


Pierre Alechinsky

              Pierre Alechinsky is a multimedia artist who creates colourful paintings and prints with stark contrasts to black and white ink drawings. Alechinsky was a long time member of CoBrA, a collective that utilised material and its spontaneous use. Alechinsky has come to use a variety of bright aesthetic choices, as shown below “Upon visiting Japan, he adopted the Eastern tradition of pouring ink onto the surface of paper spread out on the floor, rendering his subjects—erupting volcanoes, comically deformed creatures, waterfalls, dynamic skies—with a fluidity influenced by Japanese calligraphy. Personal legal and financial documents and often served as the base material for his works.” I’ve been looking at a lot of Alechinskys’ work as a result of sifting through previous exhibitions. I came across the exhibition ‘Between Dreams and Reality’ at Musee d’Ixelles, which ran from February 26th to May 31st 2015. Alongside Alechensky’s work various other artists such as Rene Magritte, Fernand Khnopff and Juliet Wytsman. Alechinskys’ work stood out to me, due to the delicate nature of the subconscious delivering gestural strokes through calligraphic mark making. The mark making reminded me of experimental work based upon my dreams that I have been producing through oil pastel, emphasising shape and texture through gestural form in a spontaneous way.

CoBrA de transmission



Current Work

                 Below is one of the previously mentioned experimental drawings, in oil pastel. The below is a hallucingenic dream that I experienced some time last year (2017) whereby there were endless corridors, each smaller than the last, narrowing into one single point. Attempting to go back the way I came, the very thing happened again, so I climbed out of a window. The spontaneous application of oil pastel lends itself well to the dream state, as when you leave a dream, many aspects are blurred or removed from your memory. The sense of claustrophobia in this piece is helped by the two large red-brown walls and the dark space in between. The solid colours are also juxtaposed against a white and sage green tiled floor, which appears to depict movement and also a solitary red-brown tile which matches the walls, disrupting the movement of the tiles in an uncanny way.


The second piece of work that I have created is another dream, which depicted a serene atmosphere, with a strange opulent warmth, there was an empty field and rows of trees. to the right of the path there was irrigation ditch filled to ground level with crystal clear water, I walk parallel to the ditch and involuntarily climb into the water and swim through the calm waters. The wind was howling and in the distance a dark figure stood guard for my arrival. To where? I am not certain. The high winds are depicted through the almost horizontal mark making on the right hand side of the drawing. The dead looking marshland is depicted through the use of ochre colours to show the dead grass. The sky is dark, as it was in the dream depicting a strange surreal lighting to the scene. The greenery in this drawing is suggestive of reality, similarly with the blue stream cutting through the irrigation ditch. It reminds me a lot of home; however the sky is short and dark, cutting the harmony intensely, to match with the dark figure in the mid distance.


The drawing below correlates to the poem written at the beginning of this entry. It depicts the bedroom, the corner that I see when I wake up. It depicts the curtain with some hint of morning light shining through depicted by the warm yellow, however the red border suggests something evil lurks outside. You can see the brown curtain pole, and streaks that cut through the red and yellow vertically to make up the texture of the curtain with the remainder blue surround that represents additional material from the curtains that hang over the radiator, which has been left the white of the paper. This wall is black to emphasise all of these features. The dark red at the bottom of the work depicts the bed covers, with a black glowing fence like structure at the end, which actually represents my small collection of recording instruments. These glow in a golden morning light, representing reality and a more optimistic hope. Behind this is a green wall which makes up the corner of the bedroom, leading the eye of the viewer upward to the ceiling, or at least where it would be if it existed in this reality. The viewer can now see a blue sky, with an opulent summer sun at about 2pm in the afternoon, with non threatening overcast; despite this the dark figure looms. The bald man holding the electrical wire, that he will use to end my life. There is something very final about this image, the colours jerk and feel unsettled; the whole thing is very uncomfortable.


The Fourth work below depicts one of the more harrowing experiences I have had through my hallucinatory dreams. This one came about in the early hours of morning. My eyes were closed and I was under the impression that I was awake luring me into a false sense of security. This was quickly broken when I opened my eyes to a disturbing featureless face, free of any human restraints; it was calm in its expression however. I flung about the place in a desperate attempt to run; the face of this thing was attached to a neck, which seemed to curl around itself and go about the room. It was still, but attached to the body of a man, again colourless in its existence. I ran frantically and opened the curtain, flooding the room with a dull light. The figure was gone and I was left on my own at around 4 am on a February morning. The drawing below can be separated into two parts, much how it is across two pages of one sketchbook. The right hand side of the work can be seen as built up, and a little hectic. The slanted blocks of colour in the right-bottom corner represent my old bed covers, which I am certain I was using at this time. These are offset further with the blocky elements of dark green and pink, which depict a chest of drawers and shelving, like the layout of my room in my family home, with a blob of pink towards the middle to show discarded clothing. This is where the figure resides in this situation, between the bed and the drawers, this gives a feeling of suffocation on this side of the drawing, like a blocked exit. The drawing is then carried along by the directional line work of the laminate flooring, which is separated through application of various browns and yellows. The wall of the room is black in this situation, to suggest a night time or early morning with the small yellow rectangle letting in the light of the morning. This is all balanced by the neck of the creature, and the head which gives a claustrophobic feeling on both sides of the work with no escape.


The next drawing from this series pictured below is a depiction of a not harrowing experience but a dazzling one. I awoke to a green glow in coming from the hallway, of course I got out of bed to go and see where the light was coming from, stumbling around in a daze I noticed small green notches coming from the walls. These notches were about two inches long and up and down the walls vertically glowing with a tacky sort of alien halloween glow. Stumbling around the corner into the kitchen where this drawing is set, I was shocked to see the entire room was covered in these, especially the fridge which can be seen to the right hand side of the drawing, with the green lines moving downwards to the ground. It was interesting to have an experience that was somewhat placid and didn’t place me in any immediate danger.


The 6th installation of this series is seen below in diptych format, a two part description almost. The top resembles the state I am in during my sleeping hours and the second part depicts a recalled childhood memory of the location I was visiting. The location for this drawing is Scotland where I visited around September 2017. During the time I was hallucinating, I experienced that the ceiling was coming down, much like in an Indiana jones movie, except the other figure that was in the room with me slammed the door and locked it leaving me inside with no way out while the other character watched through the window. The ceiling in this depiction has been etched upon with crude cloud drawings which represent the fact that this is the ceiling, with the red downward strokes giving the viewer a sense of entrapment. The Tile like texture on the bottom right wall depicts a state of disarray and discomfort towards what is about to happen, with the pencil on the opposing side showing scratched pencil marks which give a feeling of dread. The whole thing comes together as quite uncomfortable to look at. Below, it is almost the opposite state of affairs, whereby two landscapes are depicted side by side, one of the hills I once climbed regularly, and the harbour that was owned by my great uncle.

1517405955762 copyThese are works that I plan to elaborate on through large scale works, representing something of a tapestry, a large rectangle. The textures seen in the above works will be sprawling, interwoven with the details of hallucinogenic dreams that I experience. I will also be looking at the strange and uncanny, looking at authors such as H.P. Lovecraft, Kafka and David Lynch. Previous work of mine has explored these themes, through analogue photography and projection which have produced works that are also demonstrative of the feelings that I get from my dreams.


I’d like to make comparisons between the dream state that I experience and reality, giving these kinds of works tangible anchors in the real world. This could be carried out through juxtaposition of some kind through painting, as I would like to continue producing my picturesque paintings and drawings alongside the more surreal oneiric works. Work from 2017 may be suitable for this kind of application, due to the fact that they are more contemplative. To highlight the disturbing nature of my visions I believe it is a good choice from a theoretical point of view to highlight the contrast between the two worlds I seem to occupy, much like the title of the exhibition I researched ‘Between Dreams and Reality’. Through this I would find ways to link the two together.



The images above are depictions of situations from reality, not set in the oneiric realm of my hallucinatory experiences. These offer a contrast between the surreal works at this point in time. The images are stoic and offer a sense of longing in their everyday nature. The first image on the top left hand side is of my younger brother. The image is based on an image that I captured on a disposable camera a couple weeks before leaving home to live in London back in 2015. There is a sense of nostalgia and yearning that comes with this image, of which was probably magnified by the fondness of the time and that the image was salvaged from a roll of old film that I was unaware was still intact. The second image along to the right hand side is a self portrait of myself in bed. The painting depicts the bright red of the covers against the manilla and beige tones of the walls in a lazy and relaxed poise. The painting depicts a calmer time continuing the theme of contrast between reality and dream. The image has an ironic dull feel to it, again highlighting the every day – similarly to the painting of the leg in the shower, beautifying duller moments in life. Despite the calm in this painting the diamond patterned bath rug mirrors the patterns that can be seen in the oil pastel drawings of my dream drawings, which is an interesting parallel

Going from the parallels between my dreams and my reality I have decided to move towards memories. Memories are something that do not reside in the present, just in the mind therefore having the same presence as a dream. Much like we cannot remember the full extent of our dreams, the same things happen with memories; they are pushed down to make room for the present moment and the future moment. One of the main differences between dream and memory however, is the way that dreams can be very dull and humdrum or very intense and hallucinogenic, while the act of recalling a memory is quite a self contained and aware action. When the human mind is concerned, the very fine details of memory can be censored to be replaced by a romanticised version. Through my practice I am attempting to figure out a way to push the act of remembrance into the realm of dream, by beginning works with no source material at all and no plan in order to activate the sub conscious mind. The first work to use this can be seen below, not yet finished but at various stages of completion. The image began from the image to the left. It can be seen that the implementation of the checkered blue textures making up the swimming pool have been taken from my previous drawings pertaining to oneiric experiences. This was the starting point for me, as it put me into a trance like state of mind applying the repetitive pattern to make up what would be the water distorting the swimming pools’ lining. The work was then slowly put together out of a1 sheets of paper, one page at a time, which was due to space limitations but also represents a fragmentation of memory over time. To the right, another updated version of the work depicts a continuation of the swimming pool, and then underneath that version can be seen a plan of the rest of the image to give me a rough guideline. From this simple pattern my sub conscious mind seemed to access a memory of the childhood home where I grew up in Wichita Falls Texas.

Having produced the beginnings of what will be a large scale drawing, I searched my old Texan address on the internet and found a realtor that had the house up for rent/sale, with pictures detailing the house. I jumped at this opportunity to get as many images as I could to compare what I had produced so far from memory with the real location. As it is clear there are many differences pertaining to colour and form, but I feel that the spirit of the location is preserved through my work so far using my memory of the place combined with the aesthetic I have developed through work based upon hallucinogenic dreams.


Single-Family Home

3 Beds

2 Baths

Built in 1979

439 days on Trulia

1,632 sqft



Great location in Wichita Farms just off of Southwest Pkwy. Very nice three bedroom, two bath home with two car garage. Open family room with wood burning fireplace. Large privacy fenced back yard. Salt water pool with fence around. 1632 sq. ft. of living space. So well kept. New flooring in family area. Vinyl siding, sprinkler system. Surround sound, outside speakers.”

Above is the information about the house, which will be printed or drawn out in someway in order to highlight the relationship between the maker, the home and the viewer.

Current Work

Having used year 2 of the BA fine art course at chelsea to flex any experimental thoughts I had, I now come to year 3 where I began, with painting. Below is a painting of an image from a camera that was lost four years ago now, which was found at the bottom of my younger brothers toy box with the backside fully opened. On the subject of nostalgia, my intention at the time was actually to take meaningful and warm images of a time I would never truly experience any longer, as I would be moving away in the coming months to attend university in London. Despite this camera being in the wrong state to preserve the exposed film and have the image remain intact, I took the film to be developed and by some kind of miracle the film remained tangible, with only a few lens leak errors (which are now seen as something rather beautiful and appropriated by Instagram filters etc.) Out of all of the images in the series of photographs that were intact, this is one that I felt strongly connected to, because of the subject matter, my younger brother who I am very close to, and the fact that compositionally, this photograph is fleeting and compelling.


From a Rhetorical perspective, which is how I intend this painting to be examined, the field of dead grass and wheat while mostly being the same colour, represents a technicolor recollection of nostalgic moments in life, arriving at ideas of purity and nature, whilst the verdant green pathway that cuts through resembles life and forward movement, all the way into the tree line in the distance. At the same time the Subject of the painting is moving forward in an ecstatic run, away from the audience suggesting a manifestation of ideas surrounding the fleeting moments we experience and cannot return to, but think of with wonder. The surroundings and setting are also relatively neutral with no indication of a time period, giving a sense of suspension in time, a utopic idea of nostalgia that we cling to in order to understand the present. The intention with this painting was to depict the feeling of your childhood or just life in general running away from you.


Present day Nostalgia

Currently, my paint work has been surrounding ideas of nostalgia, particularly, ideas surrounding instant nostalgia. As mentioned in my Essay regarding nostalgia, I am interested in the instant, and the romanticism behind automatic process, dissecting the way by which I remember and recall. One thing I was forced to question was my memory and recollection of things passed, and much like Proust’s recollection of the madeline, I sifted through memories of a charged nature, and even images and childhood pictures. From these images, I found a trove of satisfaction with a bittersweet taint, that of nostalgic tendency. Having picked apart the work of Hockney, I have found that the poetic romanticism in play actively creates an instant nostalgia, longing for the time we have never actually experienced – in terms of nostalgia as an over-saturated fantasy of a time from the past. I feel as though the nostalgic feeling is a deception inflicted upon us as a method of understanding time as a concept and human construct. My work surrounds these issues, by taking the mundane reality of my current life in a romantically dull fashion by which nostalgia manifests itself through kitsch.

The painting below, depicts a self portrait of myself, tired after work. The feeling at the time was a feeling of tiredness, but a sense of purpose was intact and thriving. However as the image depicts, The figure lays motionless and trouser-less on an unmade bed and the arm hanging limp. The painting gives a neutral impression, with the figure between the colours red and yellow, alongside the soft texture of the pillows. These natural shapes offset by the natural form shows a good discourse between the subject and the environment. From an outside point of view, the subject is slumped, and depending on the state of mind projected by the audience/viewer, it can be portrayed as both negatively charged and positively charged. The idea behind this series, is one of respect for the time in homage of romantic poetics. Ideas of the subject (myself) in a relaxed and tired state, I felt immediately pressed to paint, as it represents a time I pre-emptively understood I’d be nostalgic towards, and rather than using images on a phone or camera, I’d have a manifestation of the work in oil paint. This series, and this painting in particular depicts my love affair with my past while simultaneously existing in the present.


Whilst working on this series, I actively took to painting the scenes I witnessed on a day to day basis. I centralised my work to being produced at home, to arrive at the very instant ideas behind the process. This image depicts another self portrait of a nude leg in a bath tub mid shower. The colours in these paintings stand out as being very pure and approachable, and untainted. The nature of this shower image is very playful. As it retains an anonymity of the subject matter, yet tells all at the same time, creating a paradox, and capturing a similar tone to images we may have one day taken on disposable cameras disrupted by our thumbs. The angles and textures interacting in this painting create a surreal aspect to the work also, creating that misunderstood nature held by nostalgia, whereby much is lost in translation from one time period to another. This image, even with its cold palette, depicts a warm scene. Showering is also a time where we feel at our most vulnerable to decipher our deepest of thoughts and emotions, and let out the emotion to sing.



Where Dogs Sleep // 2007

A painting depicting from memory the intersection between the carpet in my childhood home living room, against the parquet floor. The space divided almost evenly against the harsh imperfect geometry creates an atmosphere of disarray and clashing with the soft wine coloured Persian carpet with the tasselled edge. This transition between surfaces offers a mundane exchange of material which can be seen in almost any situation. The title ‘where dogs sleep’ is directly derivative of the nature of the situation, as it is where the dogs indeed sleep. The blank space around the painting with the straight edges to me waxes lyrical of framed work, but totally undermines the idea of having a frame.



Where Dogs Sleep


Experiment No.2

During this sonic experiment, I invited a small number of individuals of whom I know and do not know to my flat to interact with the theremin, in an effort to analyse how different people react in the setting and around an object so unknown to them. The subjects did in fact have access to the sound as they were producing it, so this could also perform as a variable in how they interacted. Subsequently I took a polaroid photograph of each member of the test, and directed them to make a strange facial expression, thus analysing their instant reaction in such an awkward situation, through the instant and fleeting medium of the polaroid. I myself also took part in the experiment (for a little bit of fun).


I feel that for this experiment, it was interesting to see the faces behind the previously anonymous theremin sound. It works on an interactive basis to involve the typical viewer by evoking the voyeuristic idea of attempting to pair the face with the sound. 

The sound piece to accompany can be found below through this link:

Experiments in Audio Regarding Surrealism in a social environment // Experiment No.1

As a result of continuous years of painting and visual work, I now, tired approach the realm of audio experimentation. Influenced by the previous work based upon dreams and memory, attempting to create replications of images seen in dreams in an authentic manner, I now turn to replicate the reactions of individuals in a surreal way, which captures the curiosity as one approaches and observes an object. To capture such movements, A particular use of a synthesiser named, Theremin is implemented in order to gather motion, as individuals react with the field of the theremin. This strange new approach, allows me to express surrealism in a different way, combining my two passions, art and sound.

             “The theremin was invented in 1919 by a Russian physicist named Lev Termen (in the United States his name was Leon Theremin). Today, this marvelous instrument is once again in the musical spotlight. Besides looking like no other instrument, the theremin is unique in that it is played without being touched.” 

– Article from


This artwork will be carried out on various tiers of execution, using myself and a few others as the subject, taking the experiment to a more densely populated area of comfort (i.e.) University, and finally, encouraging members of the public to approach me and interact with the object. These tiers, will allow me to safely experiment in comfort to better the final product of this audio work. The public, when interacting with the instrument, will not be able to hear any kind of sound, potentially causing some kind of frustration or confusion of some description. This however, will work to my advantage in collecting an accurate sonic depiction of how the subjects would naturally interact with such an object, with an unknown purpose and end. The initial tests from known subjects is found below via the Soundcloud player in order to better illustrate the process.


Swift Returns from Summer

Few attempts to create have unveiled themselves over the course of this summer, As a result of the fast moving world of real estate, and moving locations from Brixton, to Brixton once again. Having settled in to my new abode, the ramblings will continue to plague this minute corner of the internet, mostly for my own personal gain, as displayed before, in description of my artistic intentions and ongoings. Despite the Consistently stressful and arid atmosphere of the passing summer, there was much thinking to be done, regarding my practice.

The practice coming into fruition from the passing early half of 2016, was based upon dreams, irregular sleeping patterns and acute madness of hallucinogenic borderline sleeping disorders. Pushed along and pressured by working within various night-shift positions alongside the University course proved stressful, and I feel that is evident in previous artwork. However, while setting these concepts aside for now, they will remain heavily situated in my area of artistic direction. Considering the previous conditions, and now having a more stable routine (and part time job), the work was obviously mutually beneficial to myself and the situation. So with this in mind, I now strive to reflect upon ideas in a new light, in a much less insular nightshift type manner, now with the time gifted by a stable lifestyle.

Much of this adapting will come out in the form of more reflective work, contrasted to other automatic works such as a continuation of the automatic writing in the form of poetry from the midpoint of the year. Reflection of memory, and perception of memory through abstract 35mm photography will be explored, using textures of various film types, and mediums (including polaroid). Much of this will be documented here. 


Above, can be seen a simulated larger scale version of an accidental artwork that was previously created. The textural work was created by pressing the top of the oil paint tube onto the piece of canvas, and pulling it sideways whilst applying pressure to the oil tube. The textural aspect of the work seems very important in this situation, it appears as some sort of reflective surface in a strange solid way. The sensation from creating the piece of work was also one of nostalgia and some kind of sub conscious knowing of having seen the colours and textures arranged in such ways before in a non-artistic context. The original sample, (scanned) can be seen below.

Snow through tv screen

Upon reflection the original accidental strokes of the paint create a more successful gestural painting, and selection of unconscious strokes of however it was created. The colours are also a lot richer, however this could be a result of the scanning process effecting the contrast and saturation of the image. The edges are also more obscure, something which gives an illusion of free movement, however most definitely boxed inside. However through all of this, the latest version of this painting gives an impression of water more successfully. Also below can be a not yet published dream painting, which has now been painted over, on the back of a previous painting.

Midnight Electrician

Exhibition at the Crypt, Euston

During March/April, an exhibition was carried out, presenting a range of works from various artists in a group from Chelsea College of Art. Over this time the collaborative effort of the group members amounted to a successful first independent exhibition in London held in the Crypt situated in Euston. The collection of work I presented consisted of the artwork based on dreams and memory, I feel that the setting hugely complimented my work, as it offered an atmosphere in which the artwork felt natural to view. I feel that this was as a result of the harsh juxtaposition between the line/paintwork of the prints and paintings and the century old red brick behind. Presentation for this exhibition was limited to using nails to attach the work to the walls, as frames were over the budget, and I feel would not give the work the required space it needed to breathe. The Ideas I was working with during the span of January to Now has proved satisfying in terms of depth and workability, giving me an almost endless source of inspiration: I feel as though I could run with this style of work for a lasting duration of time and I plan to complete more work like this for the foreseeable future. Despite my comfort in this new found practice and technique, I will also strive to venture into sculpture, a medium not yet travelled – It would provide a challenge to further occupy and create a more sturdy foundation on which to base future paintings and drawings, in a similar way to the artist Ivan Seal whom paints photorealistic paintings of reactive clay sculpture.

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Over the time of the exhibition other individuals also showed artwork of an interdisciplinary nature. Including Sculpture, mixed media, performance art, and other forms of painting. The dynamics of the work shown provided a satisfying array and variety of works for anybody viewing the exhibition. Concepts that were played with included ideas of medium and message and space and time. The challenge that accompanied this exhibition came in the form of the gallery space itself. Whilst providing a huge amount of space, the unusual sizes of walls and brickwork compromised setup efforts however solutions were found, and every issue was resolved as more time was spent in the gallery space. Due to the nature of the space itself, connotations of the afterlife intertwined with subject matters surrounding psychology, dreams, and otherworldly concepts. The location, allowed the flexing of creative muscles and the complete involvement of every individual group member.

the crypt
The Crypt Gallery – Chloe Tennant Photography

Upon reflection of the events spanning the exhibition not much would be changed, however the downfall of the space came with the separation of the work. The individuals and myself in this particular space were pressured to fill the space and stretch out as far as possible. If presented with a smaller gallery space, the artworks would have interacted on a different level, provoking a different response from the audience. During group critiques the 1938 international surrealist exhibition was spoken of, as an example of how to utilise a gallery space in order to create a resounding atmosphere within the space itself, as a method of breathing life into the exhibition. Despite the somewhat standard method of displaying work, it was felt that the esoteric qualities of the gallery space acted in some way to contribute to the atmosphere hugely.