(2019)

Before the Mouth is a series of work not revolutionary in the artist's timeline, though not claiming itself to be. Many artists are spatially aware, and set out to test limitations and its forms. This collection is, however, evolutionary. It’s a work of growth, its reconnecting with roots/routes that were left unexplored and thus, undeveloped. As a natural progression from a previous project Splinters in my skin, Before the mouth is my body, further exploring ‘tactile materiality’ and how I can extend the artists reach past traditional ‘drawn spaces’. I want the audience to be able to envision experience, without actually experiencing it.
In a Rebecca Horn-esk intervention, I created body extensions taking the form of hand spun sheep's wool strings. As you approach these works, the hand ‘dyed’ strings has its presence within the body of work, symbolising the personal, used to break through the page, or tangle one’s self within it. If measured, the strings would measure to be the same height as myself ... 'my' and 'self' being the influence of this work, overriding, yet subtle in detail. 


What is created with these clay dyed twine are forms which resemble that of muddy winding rivers in motion, or 'the things on the riverbed.' Accidental creations, following their own path, in motion aside from human interaction .... whether it leads to a dry nothingness or a fruitful oasis, an ethos which is shared within my work. I give my control over to the accidental nature of the action and consequently the material, no matter what the outcome may be, much like how a river devises its own journey through the landscape.