In the fold 2D becomes 3D, which dramatically increases the complexity of the surface. It is a mysterious place. As Deleuze (almost) said: The fold is the smallest unit in the labyrinth.

After seeing a discarded scrunched up patterned sweet bag one day, I started drawing patterns and folding, scrunching, wrinkling the surfaces. I have used paper, photography and digital prints on both fabric and ceramic surfaces.

Below is a photographic collection of the wrinkled backs of people’s knees, stacked into pillars. I was fascinated to see how something quite invisible turned beautiful, just by the act of looking (much like the hairbands).

I mostly view these as a material archive of movement / walking, but it also works as a comment on support structures versus the power structures implied by traditional pillars. 

(Shown in Soanyway Magazine Vol.2 Issue 13, September 2022, “A material record of walking”)

(Exhibited at Arebyte Victoria, 2019)

During the Covid lockdowns I continued working on this theme for the Gilbert Bayes Award show. I moved back and forth between 3D and 2D again, in a kind of performance without a performer (a condition forced by the circumstances during that time).

(Gilbert Bayes 2021 Award Exhibition, Cromwell Place London and CASC Gallery Chester)

By now I have experimented with folds in many different materials, also during my metal work residency 2022 – culminating in a solo show 2023. More details under Exhibitions

The latest iteration of patterns in 3D is the vestments used for performance “Bowl Face”, shown at HUSK! at Clements & Co, 2023.

This time I used acrylic paint on sewn artist canvas. Cover images from the accompanying publication below: