Co-Inhabited, 2018
You Used To Smoke Out The Window, Sometimes We’d Sit On The Roof, black clay & white stain, 14 x 14cm, 2018, photo by Peter Morgan
I Was Always Waiting, Should I Have Joined You?, black clay & white stain, 14 x 14cm, 2018, photo by Peter Morgan
I Cut My Hair Without You, porcelain & ceramic pencil, 14 x 14cm, 2018, photo by Peter Morgan
I Don’t Want To Talk To Strangers On The Internet, porcelain & ceramic pencil, 14 x 14cm, 2018, photo by Peter Morgan
I Didn’t Realise It Was So Much Colder, back clay & white stain, 14 x 14cm, 2018, photo by Peter Morgan
You Took The Ring But Left The Jacket, Then You Took That Too, black clay & white stain, 14 x 14cm, 2018,photo by Peter Morgan
You Hated That K-Mart Bookshelf, I lived Around It, black clay & white stain, 14 x 14cm, 2018, photo by Peter Morgan
Thought I Saw My Shirt on Your Insta Story, porcelain & ceramic pencil, 14 x 14cm, 2018, photo by Peter Morgan
You Used to light a Candle For Me, black clay & white stain, 14 x 14cm, 2018, photo by Peter Morgan
The First Bed We Slept In, black clay & white stain, 14 x 14cm, 2018, photo by Peter Morgan
Without You I Have A Lot Of Time, I Take Baths, porcelain & ceramic pencil, 14 x 14cm, 2018, photo by Peter Morgan
Do You Believe In Life After Love?, porcelain, ceramic pencil & stain, 14 x 14cm, 2018, photo by Peter Morgan
Artist Statement
The series was inspired by a fight during the breakup of my pervious relationship with a musician. He said that he would just be “some expensive art on someones wall” to which I replied “well I’ll just be some bitch in a song”. These words inspired this series of Twelve works which has become my break up album to him. Twelve is important as it is the average number of tracks on an album while the works themselves have through serendipity approximate the size of CD’s. Cracks in the works were allowed as a refection of my own pain at the time and a pun relating to the “breakup”. The scenes explore how every space seems haunted after someone leaves. They attempt to draw a person through absence rather than the figure. The works fed into my Masters and its exploration of place’s ability to act as a vessel for memory.