Copper, vitreous enamel (cloisonné), spray paint and wood.
Installation: 70 x 100 x 70cm
2016-2019
This trilogy of copper and enamel Victoria Sponge cakes serves as a dialogue between past and present, layered with social commentary like the buttercream that bursts from their seams.
'Arsenophobia' confronts the health concerns stemming from industrialization. Its poisonous green hue conjures the deadly arsenic that once adorned Victorian wallpapers and speaks to the widespread chemical adulteration that continues to permeate our contemporary society. The graffitied message "Non marte sed arte" ("Not by force but by skill") invokes the spirit of James Nasmyth, father of the steam engine—a reminder that innovation and destruction often share the same hands.
'Litrosophobia' tackles the persistent specter of alcoholism. Inspired by my neighbour who was addicted to alcohol for over 4 decades and the Victorian working class’ high expenditure on drinking consumption. Alcoholism has been persistently one of society’s most serious issues. Its sober colors and quintessential pub tile motif echo the hardships of Victorian workers who spent significant portions of their meager earnings drowning their sorrows. The inscription 'Temperance is futile' offers a bleak commentary on our attempts to legislate against emotional pain - as if policy could cure the human condition.
'Thanatophobia' nods to the Arts and Crafts movement, that romantic backlash against rampant industrialization. Rendered in traditional cloisonné technique, its design alludes to William Morris's intricate patterns - a testament to my deep respect for traditional art forms fighting against the machine. The graffitied words 'One step back' remind us of the pitfalls of unchecked progression, even when guided by the noblest intentions.
Copper, vitreous enamel (cloisonné), spray paint and wood.
Installation: 70 x 100 x 70cm
2016-2019
This trilogy of copper and enamel Victoria Sponge cakes serves as a dialogue between past and present, layered with social commentary like the buttercream that bursts from their seams.
'Arsenophobia' confronts the health concerns stemming from industrialization. Its poisonous green hue conjures the deadly arsenic that once adorned Victorian wallpapers and speaks to the widespread chemical adulteration that continues to permeate our contemporary society. The graffitied message "Non marte sed arte" ("Not by force but by skill") invokes the spirit of James Nasmyth, father of the steam engine—a reminder that innovation and destruction often share the same hands.
'Litrosophobia' tackles the persistent specter of alcoholism. Inspired by my neighbour who was addicted to alcohol for over 4 decades and the Victorian working class’ high expenditure on drinking consumption. Alcoholism has been persistently one of society’s most serious issues. Its sober colors and quintessential pub tile motif echo the hardships of Victorian workers who spent significant portions of their meager earnings drowning their sorrows. The inscription 'Temperance is futile' offers a bleak commentary on our attempts to legislate against emotional pain - as if policy could cure the human condition.
'Thanatophobia' nods to the Arts and Crafts movement, that romantic backlash against rampant industrialization. Rendered in traditional cloisonné technique, its design alludes to William Morris's intricate patterns - a testament to my deep respect for traditional art forms fighting against the machine. The graffitied words 'One step back' remind us of the pitfalls of unchecked progression, even when guided by the noblest intentions.
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