Horizontal Line: Cord stretched along the horizon: Cornwall
Plastic cord, landscape. September 2017
A photograph of a length of brightly coloured plastic cord stretched horizontally so that it coincides exactly with the horizon.
This is an unmanipulated photograph.
The work is partly about the all pervasive presence of plastic in our lives and the environment, with the piece of plastic cord seemingly stretching all the way along the horizon. The fact that the line of the cord is along the horizon created by the sea links the cord with the plastic pollution that is present in vast quantities in the oceans.
As well being a metaphor for the plastic that is polluting the oceans, the cord also signifies that plastic is in many ways a very useful and pleasing substance (without which our modern world wouldn’t be able to function). This is indicated by the fact that the cord creates a very pleasing aesthetic effect. The major problem with plastics is the complex molecular structures that are created during the creation of the plastic – when plastics are developed that don’t have those structures, and that thus decompose properly, the plastic problem will be greatly reduced (although of course it will still be a problem, along with all of the other problems that we are inflicting on the planet).
The work also exists at a purely aesthetic level, with an appeal generated solely through the juxtaposition of the horizon and the cord.
A detail of the photograph to show the church.
This is a piece of art that I created recently that’s inspired by frequent unpleasant encounters with dog poo bags while out on walks in the countryside.
On one walk along a popular track up a mountain in Wales last year the poop bags were so frequent that they inspired me to conceive of the idea of a path lined with an avenue of poop bags. I’m looking out for a suitable venue.
For the work in these photos it was a small step to move a single bag from the countryside to the art gallery. The question is, is it a real dog poo bag or not? All that I can say is that it’s described as being ‘mixed media’.
This is a visualisation of a concept that I’m thinking of developing into a piece of finished artwork.
It’s a form of environmental sculpture.
The work will consist of a conventional domestic rubbish bin with a black bin liner inside it.
From most angles (as in the image on the left, above) the bin will look like any conventional bin: however when viewed from close up at the front (the image on the right, above) the observer will see that looking inside of the bin the blackness of the bin liner gives the impression of a dark void within the bin. Visible in the void will be a glowing representation of the earth. The effect will be of the earth suspended in the vastness of outer space. The bin will appear almost to be a portal to another dimension.
The idea of a mundane rubbish bin containing a portal into outer space is very appealing.
I haven’t yet decided how the representation of the earth in the bin should be realised. It could be a dimly glowing globe or it could be a digital display on a screen positioned near the base of the bin.
The work is an environmental statement and carries an obvious message – that at the human race’s current rate of consumption of the earth’s resources we are treating the earth with contempt and are effectively placing the planet itself in the rubbish bin. The message is obvious because there is no time for subtlety here! Think of it as the sculptural equivalent of an environmental campaign poster.
The work is a development of a concept that I had in about the year 2000, when I produced several drawings of the earth falling into a wastepaper basket. The sculptural potential of using a real rubbish bin to create an illusion of outer space is a more recent development.
The emotional impact of seeing the earth floating in the black void of space inside the bin refers to some extent to the iconic photographs of the earth as seen from space as photographed by the astronauts in the Apollo moon missions.
Work created January 2017, Cornwall.
Breathing on a polluted planet. Digital image. First version: 1991; this version: 2015
A work concerning climate change and pollution.
This work is created in a cartoon-like style. There are several reasons for this. One is that I create quite a lot of cartoons (which have been published in newspapers such as the Guardian and magazines such as Private Eye), and another is that I think that the cartoon style is a particularly good way of communicating about subjects such as global warming, pollution and the various crises that are currently afflicting our planet. One of the appeals of the cartoon art style is that it generally lacks ambiguity, so its message is clear and unmistakable, which is very important with subjects that are as important and clear-cut as climate change.
Other contemporary art styles on the other hand tend to thrive when they contain a degree of uncertainty in what is being said, requiring the viewer to interpret the work as they see fit. Contemporary art that puts forward a message unambiguously can often tend to come across as rather dead, didactic and hectoring.
Also of course, cartoon art, due to its nature, can easily be reproduced in print or electronically without loss of quality (both physical quality and emotional quality), thus making it available to a much wider audience than most contemporary art – which can only be a good thing when the work tackles an important subject as climate change.
Burnt vegetation. 2003
A fire made of green wood.
The wood at the centre of the fire has been consumed by the intense heat of the fire.
The wood at the edges of the fire remain unburnt, forming an almost perfect ring of twigs and small branches around the ash core.