The “Death of God” project has drawn from several sources, not necessarily synonymous in style, agency, form or subject. Simply put, the eclectic nature of the subject matter in terms of influence has circumvented rational or even ethereal dissemination of coherent thought, as to the elucidation of a pure or explainable thought, since all ideas are a culmination of natural circumstance; it was just a series of ideas put into images. This was due to the loss of studio facilities, so instead of changing ideas, I changed my practice of working, in an enamoured effort to combat the new vestige of my University. Out with the old; in with the new.
Having made use of the printmaking, metalwork and photography studio during the year, it was indeed my plan to make use of the facilities during my final project, however given the axiomatic circumstance of present problems (not to mention those of South Africa’s where I currently reside), my job was perfectly straight forward. Make art without facilities and with extremely limited resources. Making use of practices skills, such as previous knowledge with chalk pastels, pigmented charcoal, abstraction of form, life drawing, geometric exploration and orthographic projection systems, gave rise to a series of works intrinsically dissimilar to each other in medium yet unified in style.
I found myself during this time of struggle, without necessities, not only within art. But that which comes with hardship, always comes with experience and subsequently I am better for it. Struggle ideation and divergence, and I’ve found this time most freeing in terms of what I thought my style was, and what I can be. As a young artist this time has most certainly been and adventure, I now find myself with more ways in which to work and am grateful.