Why that left eye keeps a twitchin'

When putting together a body of work both Elisa and I tend to think of a larger set of works as one 'piece' rather than individual, self-contained objects. This is especially so when working towards an exhibition.

Elisa, for example, will repeat motifs, colours and shapes across multiple works and I tend to have a 'thing' of repeating compositional dynamics as well as certain objects that are imaged. At the moment the later includes power points, switches, doors and windows.

I sometimes wonder if a series is compromised by this constant game of 'one of these things is not like the other.' I personally find myself excluding work that I might like very much because it doesn't necessarily fit in with the rest of a series.

This can also be a traumatic exercise as I'm constantly balancing a multitude of factors to obtain some form of 'line' through a series. I sometimes work with 10x8 prints that are pinned up, separated by small gaps, in the studio. That dynamic is not actually evident when they are installed as the size of gallery spaces typically doesn't allow it. That is, you would need to be standing back 10-15 metres to get the same perspective. Even with that knowledge I tend to compose a series on a much more intimate level.

The QCP show will be 9-10 pieces which will all, bar one, be shown on one very long wall. Whilst the spacing in the gallery means that it's impossible to see them all in one eyeful, I am conscious that they should read from left to right and not jar. PCP had the advantage that I could cluster a few images together and it was much easier to get three to work than five. 8-9 in one row makes for an interesting headache.