Kentridge’s exhibition at the White Chapple gallery was a turning point in my practice. Until this moment drawing had taken a back seat in my work, I was at a sticking point, a place where I wanted to give life to my practice and to find a place where a childhood vision could exist without it being overtly cliché. Animation had become attractive to me as a medium after reading the book Hollywood flatlands, it seemed that animation could straddle the divide between playfulness/darkness/safe/unsafe and metamorphism, and within Kentridge’s work expressed a kind of theatricality which opened a route into a deeper and more complex narrative.

His play between sculptural pieces that have a kinetic visceral energy and his animations which invoke an autobiographic yearning, appealed to my performance background and captivated me with a sense of owe and a renewal of my creativity.


This exhibition spurred me on to create more animated works and to play with sculptural elements alongside them. Moving sculptures or sculptures that have the potential to move, that play with balance, have worked there way into my practice. My final piece for the MFA show is a direct descendant of these ideas and concepts, drawn together into one object.