Play and the spirit of discovery are central to my artistic practice, both in the creative process and the final presentation. This philosophy is exemplified in my ongoing project, 'Wychstone Toy Factory,' where I purposefully impose constraints such as using only five basic shapes to create a loop within an hour. This personal endeavor draws inspiration from my sketchbook drawings and allows for continuous creative exploration.
In shaping my artworks, I draw influence from a diverse range of sources. McDonald's toys, Sally Cruikshank, Norman McLaren, Raggedy Ann and Andy, and Czech Animation all inform and inspire my work. By borrowing from both high and low culture, I seek to navigate the intersection of surrealism, absurdism, and horror. My aim is to integrate specific elements from each genre without confining myself to a single category. This amalgamation often leads to a sense of magical realism and dream logic, particularly evident in the internal structure of the spaces I explore.
Furthermore, an additional layer of influence in my work can be traced to the theory of a roadside picnic. Drawing from the science fiction novel "Roadside Picnic" by Arkady and Boris Strugatsky, this concept explores the profound impact left by extraterrestrial visitation on our world. In a similar vein, my art delves into the idea of ordinary objects and spaces transformed by extraordinary circumstances. Much like the enigmatic artifacts scattered after a roadside picnic, my narratives and creations exist within a realm where the familiar intertwines with the uncanny. This fusion of the mundane and the extraordinary infuses my work with a sense of mystery, inviting viewers to question the hidden narratives and possibilities concealed within everyday surroundings. By incorporating elements of a roadside picnic theory, my art aims to challenge perceptions, evoke a sense of wonder, and inspire contemplation about the vast possibilities lurking beneath the surface of our reality.
One of the focal points in my research is the creation of narratives set in non-places, environments that can simultaneously evoke vast expanses and a sense of claustrophobia and disorientation. This exploration is exemplified in my grad film 'Dead Air' where familiar architectural elements and objects are placed in unconventional spaces that would traditionally render them useless. However, within the internal logic of the world I depict, they find purpose and functionality. These non-places become the backdrop for my stories and characters, offering a unique and immersive experience.
In summary, my artistic practice revolves around the core principles of play, discovery, and unconventional narratives. By infusing my work with elements from various cultural sources and genres, while also incorporating deconstructed characters and non-places, I aim to create a distinct artistic language that challenges perceptions and invites viewers into a realm of imagination and contemplation.
