Hello, how are you?<\/strong><\/p>\n Good, thanks. It\u2019s been a busy few months. Am in the fortunate position to be working simultaneously on a variety of projects across the UK. Beside Bay Watch, I have a work opening as a part of the inaugural Look Again Visual Art & Design Festival<\/a> in Aberdeen and have a two-year WW1 commission in\u00a0Deal, Kent for the Dover Museums and Arts Group as a part of Codename: Joined Up<\/a>.\u00a0<\/p>\n What do you do?<\/b><\/p>\n With a background in architecture, my work is largely site-specific and frames a space to consider various forms of narrative around urban and environmental change. Through drawing, writing, film, curation, installation and performance my practice centres on strengthening the value of intangible landscapes.<\/p>\n What have you been doing recently?<\/b><\/p>\n The last few years have been epic, as conversations have become wonderfully complex and site-specific, making works in and around the modernist gem, Spanish City in Whitley Bay for the Shimmer Digital Arts Festival<\/a>, across various situations in St Leonards<\/a> near Hastings and with Underground Pearl<\/a> as a part of the Canterbury Festival. Getting into the grit of how various heritage contexts breathe is a continued privilege and pleasure and offers a place to act in a time where funding and critically our view; our shared memories and attitudes to change are valued and confronted. Composing a new work, The Dance of the Neptune Plant<\/a> for the Whitstable Biennale 2014 by building a film, poem and installation inside a post-war library lecture hall space was a particular highlight. Together with exhibiting an on-going text and image work, Dark Island<\/a> for the Hackney Wick Takeover at the Victoria & Albert Museum, created a space to question the vitality of how we can negotiate live history and live with history.<\/p>\n What are you doing for Art Across the City in Swansea?<\/b><\/p>\n The work is the conclusion to around two-years of conversations, visits to Swansea Bay and an archival investigation into the life of the foreshore. Early visits, back in 2013, I was struck by the skies, the topography and the punctuation of civic architectures found along the promenade \u2013 notably the Slip Bridge. Investigating since with the patient help of the West-Glamorgan Archive Service<\/a>, the narratives around the transformation of the foreshore are considerable and physically chart the city\u2019s active relationship to the sea. For Art Across the City, the work, is an invitation to watch the bay and is a composition of encounters and framed opportunities to see this vital landscape through film, archive material, text, ice cream, talks and invitations.<\/p>\n What are your ideas behind the work?<\/b><\/p>\n Whenever we say \u201cI\u2019m from \u2026\u201d we expose our fragile relationship to space and time and importantly how our identity is inextricably tied to a place. So when and how this context shifts, it affects us personally and offers a space to reconcile our shared expression of each other\u2019s memories. Working with Joe\u2019s Ice Cream<\/a> in the creation of the limited edition, Swansea\u00a0Slip Bridge Summer\u00a0Sundae, for me captures the spirit and intention of the work. As it combines thoughts around the history of a found recipe, it\u2019s making and context, how it tastes and the transformation of the recipe to construct a sensitivity and shared awareness to the past, present and future – all in a passing moment. Through collated ephemera, archive material from the West-Glamorgan Archive Service and buildings the breadth and physicality of memories composite.<\/p>\n![\"joes](\"http:\/\/www.locwsinternational.com\/wp-content\/uploads\/2015\/03\/joes-ice-cream.jpg\")
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