I'm sure most artists that work solitarily will tell you that motivation is key; on those gray days when topping up your subconscious with Netflix is more inviting than getting up and into the studio, you’d just love to be able to buy a can of motivation in the shop to gulp down and get you going. Resist buying (even imaginary) plastic bottles, people.
I love to use photos as reference for colour and texture information at the beginning of the process. From there I like to let imagination and process guide the work.
I’m usually alone late at night when working away in the studio and I find myself giggling to myself about some random happy memory I haven't thought of in ages, which just perpetuates productivity and positive passion for the work.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
Technique is super important in my work because it is something that evolved through experimentation and combining many facets of my practice that I was already proficient at into one unique process. It was a very simple, very exciting “A-Ha!” moment in the studio where it all clicked and I realised I could do something different that’s all my own. The process developed over time (and is still developing) and is a driving factor in why I create and get so excited about it.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
It was very interesting to observe people’s genuine reactions to the work at my first solo show at the end of last year. I was trying to cause inflammation of the imagination by coaxing form and shape out of the abstract. I discovered that the more definitive and recognisable I made something for myself and the clearer I saw it, the wilder the viewers imagination would run with something totally different than what I had in mind. People were constructing whole worlds for themselves and it was super exciting to hear them described with such passion.
Thanks a lot for your time and for sharing your thoughts, Conor. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
I spent the first 10 weeks of the year on a holiday/research trip/finding-myself-expedition in Australia. My next two series that I’m working on are called DROUGHT and FLOOD are inspired from my experiences and the amazing landscapes and nature I witnessed while over there. Over the course of the trip all the plastic I was consuming that couldn’t be recycled accumulated in my backpack and is the main source of material for the new work. I’m sure that this whole new world of plastic art where I find myself will evolve and I’m excited to see how it does but I’m trying to not force it and let it happen naturally while always checking that it’s making me happy and keeping me fulfilled. After all, I feel very grateful to be able to make art, it’s a gift.