There’s a sense, in this body of work, of the artist having found in the subtle changeability and environmental sensitivity of the graphite and brass a way for things to be which has the right feel. A way for things to be which is affected by conditions and space and the presence of others. Which takes on, extends, and reflects. As if these are articulated states of being-in-relation. Networks of relationships are established and at times these emerge as dualities, where one thing becomes understood in relation to a particular other thing: brass and graphite, material and body, self and other. But rather than these being portrayed as distinct binaries an attentiveness to interrelation, touching, process and cross pollination creates an attunement instead to intimate details of the differences within, of the overlaps, and of the becoming of each other.

In places the brass and graphite physically touch one another. In these small but intense interactions - in the soft glow of gold in the grey-sheened weave, as in the calling out to another’s name, as in the methods of joining, as in the schemes of connecting - there is something like a critical intimacy, which ripples the unbroken surfaces of the objects with subjectivities, which considers the ways that attachments are created to and between ideas and things and people.

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Extract from the essay The Drawing Stone

by Bryony Bodimeade

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