First of all I’d to start by concluding that most people have found the last few years some of their hardest with little let up. I think I may have said before, COVID 19 has merely been a catalyst for the spiralling and emergence of so many things that we just cannot easily identify as singular issues. I’ve felt more out of breath. I’m pretty sure it’s not post COVID, but more the anxiety from feeling overwhelmed so frequently.
My year in projects has been largely defined by working on two very long term goals, with a goal of successfully triangulating the challenge of helping set up a grass roots art space in my home town, being able to actually exist as an artist in my home town, whilst also trying to build a good life for myself, a mentally and physically healthy life, with numerous tenets I’ve used to define what this entails.
These are the first years of my adult life where I have noticed some physical health issues, which I think is largely from living so long in a state of anxiety, and the behaviours that spring from that state. So the long term goal also has some urgency for me.
I can’t disclose too much, because these projects hang on threads. Successful Funding bids, random opportunities cropping up (the lifting of the clouds of corruption and endless austerity currently covering this country). The coming year could go one of two very different ways.
I began my making year with the simple enough act of getting back into drawing work in my first and only (so far as I know) period of COVID infection.
The series was labelled ‘Burn out’, but the 3 work here are individually labelled ‘It’s Easier to Imagine being a Billionaire on another planet…’ (itself a twist on the famous saying about capitalism, which I felt summed up our current variations of this situation), ‘ Enmeshed in the World’ and ‘An image for a Sheffield-based poet’, which was designed as a cover for a poet and friend, Jonathan Butcher.



Obviously the carnage in Ukraine is one of the most unexpected horrors to have entered into reality this year. With the threat of nuclear war, that utter insanity, being highest since the end of the Cold War, I conjured my younger artist self, with his more heartfelt naivety to do something that my more weary and wary, more self-conscious older artist self would just find stupid: I made something close to a peace poster. (I still have some of these A3 posters to buy, with profits given to campaigns for the disarmament of nuclear warheads).

This informed the larger and much more invested-in work ‘All Those Promises…’ which was a more experienced response to the gap between promises and how reality turns out, on a governmental level right down to individual actions, disappointments that easily turn us towards cynicism.

This became a final drawing to be included my first solo show since the pandemic. A Radical Redemption was held at Bloc Projects in Sheffield in May. It was an exhibition that was trying to make particles collide in the hope of creating a new situation out of thin air. The only thing was that these particles were abstract.
Although the exhibition did purposely try to generate a sense of claustrophobia as I invited people into a largely introspective space where, of course the world seeped in from all sides, but the interior was a semi-fictionalised account of what is hard to discuss beyond the ‘lived in’ – issues like toxic masculinity, mental health, addiction, and the prospects of radicalisation and madness from the perspective of me; being many things, but also white, straight male.
It was formed within the last two years, where a lot of us fell into our own heads, second guessing our every thoughts. The ideas for the show did produce a lot of concern from friends who were worried that I was putting my name in danger if someone took the information on show literally, but I felt it necessary, as I kind of cleansing of my most paranoid self- suspicions and accusations, and I wanted to do this in public, in an arts space, because I think there’s a lot that has been implicitly put off limits for debate in the arts (and no, I’m not implying there’s a lack of hate speech).
A Radical Redemption did broach a broader question however: do we need to imagine the impossible, bring into being something that didn’t previously exist, in order to get out a cultural and political logic that often seems so hopeless?








Afterwards I spent quite some time developing a performance that I’d agreed to put on for two separate events. This was quite a leap because I’d made a lot of what I’d call ‘situational spoken’ word pieces during the lockdowns as video works. I wasn’t sure how the creation of a scene and words would work in a live space. The work was to some extent about the suffering of ageing, but specifically in, to use a well-used term, times that are ‘out of joint’.
The trauma of the ‘back to normal culture’ that followed the first lockdown and the inability for contemporary society to publicly acknowledge the strains of the flesh, the organic, especially as a millennial, who are still referred to as young, even though we are clearly not.
This lead on to actually decided that we were in a moment of ‘back to normalism’, but whether this began during the COVID crisis, or at some earlier crisis, such as the 2008 financial crash, was harder to define. Nonetheless, it became the focus of the most ambitious drawing project (or at least the physically largest) I’d undertaken in years. This drawing has been designed to, and will hang from hooks once exhibited.






Most recently, as in completed today, is ‘Horrorsterity 2.0’. I don’t think this works needs any explaining.


This isn’t all, I’ve got an exhibition at Micklegate Social and Fossgate Social in the historic Northern capital York, starting on Friday 13th January. It’s really a 2022 exhibition beginning my 2023. I will share more information on this very shortly. All the best.













