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It might be argued that our consumer society is wasteful with too many commodities unfairly distributed and advertising feeding on vulnerability and dissatisfaction. However, our material culture has provided many of us with a ‘quality of life’ that would not have been enjoyed in the recent past and is unobtainable in numerous parts of the world.

To explore our materialism I am examining simple domestic objects in a style that I am referring to as ‘EcoPop’ or ‘Pop Art with a Conscience’. With inspiration from Michael Craig Martin and Patrick Caulfield these images catalogue the careful crafting of the forms and detailed finishes of ‘Everyday Things’ which sadly we either ignore or discard. The work is currently organised into three collections  1] Things Discarded, 

2] Things Overlooked and 3] Things linked with social concerns. To explore their significance each object is presented with a short text which attempts to outline the reason for its selection. 

These drawings are made by observing and recording the subjects. There is no computer trickery or photographic technique involved. The software provides a set of tools which offers both possibilities and limitations. I work within these constraints, using a limited palette and hard-edged shapes to celebrate a collection of ingenious objects.  

To me this technique is a balance between making enough marks to give the illusion of light falling on a three dimensional form whilst at the same time leaving the elements of the drawing clearly visible. In this way the viewer is able to see both the process used as well as the image created.

These digital prints enable me to produce editions of high quality images from the same files, which I call multiples. This enable me to make my work affordable whilst maintaining high quality outcomes. It also means that, with some adjustments I can produce the images at a variety of sizes and in different formats. I make frameless prints in sizes ranging from A4 to A0, cutouts, sculptures, posters and slide shows to suit buyers’ requirements.

The essence of the multiple, which I particularly like, is that it’s success is dependent upon attracting sufficient numbers of buyers rather than finding an individual collector. In this way the work becomes ‘popular’ rather than ‘exclusive’, collected by people who enjoy it rather than it’s financial value.

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