‘The lumps give up their lumphood, so to speak, before they can become the statue.’
‘In reading Theodore Scaltsas’ account of Aristotle’s Theory of Substratum, I encountered the term ‘lumphood’; curiously, the text provides no insight into this idea. Over the past four years I have been sifting through various texts which also utilise the word ‘lump’. From Marx’s lumpenproletariat to Virginia Woolf’s short stories, from parenting books to Biblical teachings, from Ontology to Oncology, a lump transcends disciplines and refuses classification.
Lumps are not the same as ‘things’ or ‘objects’, nor can they be assimilated with ‘hunks’ or ‘blobs’. A lump occupies a space somewhere within latency or excess, within the outer limits of our recognition. Often understood as an indiscriminate piece of matter, I have come to realise that this term can act as a placeholder; a word that is uttered when the right word cannot be recalled. Lump creeps in without clear intention to denote a non-thing – unstable, uncomfortable, teetering at the edges.
A lump tends to be without –
without recognisable form, without present purpose, without immediate function.
The ‘lumpenpack’, ‘lumpensammler’ and ‘lumpig’ within the German language allude to refuge and scraps, that which is wretched or worthless. These thoughts fuel my making as the materials utilised are largely ‘waste’. The current climate crisis and ecological emergency reinforced this decision, compelling me to consider how I might produce work without putting strain on our environment.
I have come to realise that the world is already so full of stuff – I need not make any more. And so, I now undertake practices of un-making, of rendering a ‘thing’ as a ‘non-thing’. Broken and discarded items have become a core material. The objects are deactivated, the previous purpose is lost – opening up a rift for my interaction to take place. I work meticulously with a heightened sensitivity to material. The methods of salvaging, deconstructing and binding demand care and diligence. Photography allows me to capture nuances encountered when undergoing such processes.
Certainly both former and current affairs demonstrate the severe ramifications of ‘lumping’ people together, whether on account of race, religion, sexuality etc. The damage caused by promoting generalisations is universally acknowledged, yet it seems that our awareness hardly lessens its presence and impact. My speculative practice aims to draw attention to that which often goes unacknowledged, to give value and attention to ‘lumps’ which are disregarded.’
None of the work shown here is for sale.