What do you want people to know about your graduation project?
Drawing on a darkly comedic, democratic and socially conscious ethos, my multidisciplinary practice, spanning sculpture, drawing and music, is an ongoing investigation into the evolution of cultural tribalism and the distortion of historic truth through myth and legend.
Recent works articulate personal anxieties surrounding Now through the assemblage of a new visual language, whilst exploring the fractured nature of our collective memory.
What or who is your inspiration and why is following this route important to you?
My primary inspiration tends to be the iconography and stories from history. My work hinges on a dialogue with the past as I re-contextualise/re-appropriate historical symbols and narratives, using the visual language of the past as a vehicle to explore contemporary notions surrounding class and nationality, with a particular focus on the more problematic facets of identity.
What has been your favourite thing about ECA and Edinburgh?
Having access to workshops, across numerous departments, has been a highlight. Liaising with the team of technical staff while they shared their expertise has been enjoyable and constructive. While studying in Edinburgh, I met other artists who I am certain I will continue to collaborate with in the future. I feel I’ve left ECA as part of a larger networks of creatives.
What are your hopes for life after ECA? Do you have any plans?
I hope I can maintain my practice whilst being actively involved in the cultural landscape of Edinburgh and Scotland and find a job which supports this. Although I do not have any concrete, long-term plans, I intend to focus on applying to residencies and similar opportunities after graduating.
Is there anything you would like to share about your experience studying here?
Having grown up in and around Edinburgh, I was familiar with the city. However, studying at ECA made me more aware of my hometown’s broad cultural landscape. During my studies, I have been involved in visual art exhibitions, poetry nights and gigs. I’ve since realised I don’t have to tie my practice down to one discipline or prioritise one over another.