stage process I hope the viewer leaves the work but still remembers it .
Another interesting series that has impressed us and on which we would like to spend some words is entitled Lost Piers , in which you have inquired into the loss and death of the landscape : while encapsulating elements from reality , this body of works captures non-sharpness and its dream like quality brings to a new level of significance the elusive still ubiquitous relationship between time and memory . What is the role of memory in your process ?
I lived in Folkestone for 3 years and I didn ’ t even know that it once had a pier until I saw an old postcard . As soon as I saw this I rushed down to the seafront and stood where the pier would have been . The pier wasn ’ t there , but I had to imagine it . In imagining it , I placed myself on the pier , walking on the water . This particular series is about absence and presence . I believe with absence comes greater presence .
Unveiling the relationship between beauty and death , One last view puts the viewers in the shoes of the suicidal , providing them with an intense , immersive experience : how do you see the relationship between public sphere and the role of art in public space ? In particular , how much do you consider the immersive nature of the viewing experience ?
I want to get the viewers interest straightaway , but also I want to hold their attention for a long time , to really