Spray paint, chewing gum, oil, detritus on tactile tile with steel frame. 60 x 45cm, 2021. This new work is part of a larger series which investigates methods of communication, in this case - focusing on 'tactile tiles' and sprayed construction markings.
Tactile tiles are a system of textured ground surfaces found on stairs, footpaths and train stations among other places. These tiles signal messages or warnings to visually impaired pedestrians and are interpreted through their spacing and texture. I was drawn to use this material due to it's high level of visual texture and to show how we communicate through touch.
In 1976, construction workers accidentally cut into a petroleum pipe beneath the pavement in California, leading to a large explosion. This accident was the catalyst for 'the systemization of critical colour coded utility markings'. These markings are deciphered by construction workers daily and denote various meanings. For example - blue marks signal water pipes and yellow signifies gas, whereas red marks show electricity cables. These sprayed markings exemplify another kind of communication, one concerned with language. With this new body of work, Stephen combines these two visual languages to create artworks which highlight the painterly and communicative characteristics of public space.
Spray paint, chewing gum, oil, detritus on tactile tile with steel frame. 60 x 45cm, 2021. This new work is part of a larger series which investigates methods of communication, in this case - focusing on 'tactile tiles' and sprayed construction markings.
Tactile tiles are a system of textured ground surfaces found on stairs, footpaths and train stations among other places. These tiles signal messages or warnings to visually impaired pedestrians and are interpreted through their spacing and texture. I was drawn to use this material due to it's high level of visual texture and to show how we communicate through touch.
In 1976, construction workers accidentally cut into a petroleum pipe beneath the pavement in California, leading to a large explosion. This accident was the catalyst for 'the systemization of critical colour coded utility markings'. These markings are deciphered by construction workers daily and denote various meanings. For example - blue marks signal water pipes and yellow signifies gas, whereas red marks show electricity cables. These sprayed markings exemplify another kind of communication, one concerned with language. With this new body of work, Stephen combines these two visual languages to create artworks which highlight the painterly and communicative characteristics of public space.
Spray paint, chewing gum, oil, detritus on tactile tile with steel frame. 60 x 45cm, 2021. This new work is part of a larger series which investigates methods of communication, in this case - focusing on 'tactile tiles' and sprayed construction markings.
Tactile tiles are a system of textured ground surfaces found on stairs, footpaths and train stations among other places. These tiles signal messages or warnings to visually impaired pedestrians and are interpreted through their spacing and texture. I was drawn to use this material due to it's high level of visual texture and to show how we communicate through touch.
In 1976, construction workers accidentally cut into a petroleum pipe beneath the pavement in California, leading to a large explosion. This accident was the catalyst for 'the systemization of critical colour coded utility markings'. These markings are deciphered by construction workers daily and denote various meanings. For example - blue marks signal water pipes and yellow signifies gas, whereas red marks show electricity cables. These sprayed markings exemplify another kind of communication, one concerned with language. With this new body of work, Stephen combines these two visual languages to create artworks which highlight the painterly and communicative characteristics of public space.
Spray paint, tape, chewing gum, anti graffiti spray and dirt on perspex. 60 x 40cm.
This work examines the residue of graffiti removal processes on the exterior walls of corner shops. These vibrantly coloured perspex walls tend to be a magnet for street detritus - graffiti, flyposting, gum etc. These walls are usually cleaned DIY by the shop owners with an anti graffiti acidic spray. Many painterly and expressive compositions are created as a by-product of this cleaning process. With my work, I aim to encourage people to look at public space with the same creative lens they would use in a designated art setting.
Spray paint, emulsion, detritus, chewing gum and anti graffiti spray on perspex on road traffic barrier. 215 x 100 x 50cm, 2021.
This work examines the residue of graffiti removal processes on road traffic barriers and hoardings. These barriers / hoardings are used to prevent pedestrian and vehicle collisions and tend to be a magnet for street detritus - graffiti, flyposting, car pollution etc. They are exclusively cleaned by construction workers in a DIY fashion, in this case using spray paint and anti-graffiti chemicals. These spray-painted buffs are called ‘maltreated removals’ and are used as a quick solution to masking over abusive or political graffiti. These types of scrawls differ from traditional stylised graffiti and are often referred to as ‘WOWO’ - writing on walls and objects. Many painterly and expressive compositions are created as a by-product of this cleaning process. With my work, I aim to encourage people to look at public space with the same creative lens they would use in a designated art setting.
Spray paint, emulsion, detritus, chewing gum and anti graffiti spray on perspex on road traffic barrier. 215 x 100 x 50cm, 2021.
This work examines the residue of graffiti removal processes on road traffic barriers and hoardings. These barriers / hoardings are used to prevent pedestrian and vehicle collisions and tend to be a magnet for street detritus - graffiti, flyposting, car pollution etc. They are exclusively cleaned by construction workers in a DIY fashion, in this case using spray paint and anti-graffiti chemicals. These spray-painted buffs are called ‘maltreated removals’ and are used as a quick solution to masking over abusive or political graffiti. These types of scrawls differ from traditional stylised graffiti and are often referred to as ‘WOWO’ - writing on walls and objects. Many painterly and expressive compositions are created as a by-product of this cleaning process. With my work, I aim to encourage people to look at public space with the same creative lens they would use in a designated art setting.
Perspex, found plastic, tape and spray paint on wood panel. 40 x 60cm. 2021.
Split was created after a lengthy period of documenting shop fronts that are under construction in London. Plastic sheeting is regularly used as a veil to cover the windows and conceal the contents of the store to the public during this process.
This work is part of a larger series which investigates methods of communication within city spaces, tactile tiles or sprayed construction markings for example. In this case, plastic veils with tape daubed over them are used to obstruct a line of communication between public and private space.
Emulsion and spray paint on wood, 80 x 60cm, 2021.
Buff : (noun / verb) - The erasure of graffiti by painting over, chemically removing or pressure washing. Stephen’s ‘Redact’ artwork series explores and examines the process of buffing. He focuses on the amateur removals created by property owners and maintenance companies using spray paint and other DIY means to cover over and obscure tags, a quick fix approach until a professional team can carry out a removal. This process results in hazy and erratic compositions, which differs to the more conservative professionally created buffs. Stephen’s work is a painterly form of documenting what he see’s in public space, through his work he archives and frames these buffs into an art context.
Emulsion and spray paint on wood, 80 x 60cm, 2021.
Buff : (noun / verb) - The erasure of graffiti by painting over, chemically removing or pressure washing. Stephen’s ‘Redact’ artwork series explores and examines the process of buffing. He focuses on the amateur removals created by property owners and maintenance companies using spray paint and other DIY means to cover over and obscure tags, a quick fix approach until a professional team can carry out a removal. This process results in hazy and erratic compositions, which differs to the more conservative professionally created buffs. Stephen’s work is a painterly form of documenting what he see’s in public space, through his work he archives and frames these buffs into an art context.
Mixed media on tile with steel frame, 60 x 45cm, 2021. This work is part of a larger series which investigates methods of communication, in this case - focusing on 'tactile tiles' and sprayed construction markings.
Tactile paving, also referred to as ground surface indicators or detectable warning plates, are a network of textured ground surfaces found on stairs, footpaths and train stations. These tiles are formed from truncated bars, cones and domes which signal navigational messages or warnings to visually impaired pedestrians when they are detected by foot or cane. For example, the textured tiles used in this painting are commonly found at platform edges and signify a stop code, as there is a steep drop ahead. Tactile paving was originally developed in Japan by Seiichi Miyake in 1965. Just two years later it made its first appearance at a road intersection in Okayama City and was quickly adopted across the city and by the Japanese Rail Way. In the 1990s, these paving systems were implemented in the US, UK and Australia, and can now be found commonly across the world.
In 1976, construction workers accidentally cut into a petroleum pipe beneath the pavement in California, leading to a large explosion. This accident was the catalyst for 'the systemization of critical colour coded utility markings'. These markings are deciphered by construction workers daily and denote various meanings. For example - blue marks signal water pipes and yellow signifies gas, whereas red marks show electricity cables. These sprayed markings exemplify another kind of communication, one concerned with language. With this new body of work, I’m combining these two visual languages to create artworks which highlight the painterly and communicative characteristics of public space.
Mixed media on tile with steel frame, 60 x 45cm, 2021. This work is part of a larger series which investigates methods of communication, in this case - focusing on 'tactile tiles' and sprayed construction markings.
Tactile paving, also referred to as ground surface indicators or detectable warning plates, are a network of textured ground surfaces found on stairs, footpaths and train stations. These tiles are formed from truncated bars, cones and domes which signal navigational messages or warnings to visually impaired pedestrians when they are detected by foot or cane. For example, the textured tiles used in this painting are commonly found at platform edges and signify a stop code, as there is a steep drop ahead. Tactile paving was originally developed in Japan by Seiichi Miyake in 1965. Just two years later it made its first appearance at a road intersection in Okayama City and was quickly adopted across the city and by the Japanese Rail Way. In the 1990s, these paving systems were implemented in the US, UK and Australia, and can now be found commonly across the world.
In 1976, construction workers accidentally cut into a petroleum pipe beneath the pavement in California, leading to a large explosion. This accident was the catalyst for 'the systemization of critical colour coded utility markings'. These markings are deciphered by construction workers daily and denote various meanings. For example - blue marks signal water pipes and yellow signifies gas, whereas red marks show electricity cables. These sprayed markings exemplify another kind of communication, one concerned with language. With this new body of work, I’m combining these two visual languages to create artworks which highlight the painterly and communicative characteristics of public space.
Anti-climb paint and spray paint on laser cut galvanised steel, 70 x 40cm, 2021.
These works reference the fence toppings which mark the delineation between public and private property. They are commonly found on perimeter fencing to act as a deterrent to intruders. The subtle bends in the spikes often mark the moments they were put to the test and reference intrusion, vandalism and theft. The use of steel and aluminium was introduced to my work recently as it relates to the materiality of Dublin, a place which is experiencing rapid redevelopment. Much of the traditional architecture of the city is being swapped out for towering metal and glass buildings. These works must be hung at a height of at least 2.1m, this is in keeping with regulations around installing wall toppings.
Mixed media on laser cut steel, 70 x 40cm, 2021.
These works reference the fence toppings which mark the delineation between public and private property. They are commonly found on perimeter fencing to act as a deterrent to intruders. The subtle bends in the spikes often mark the moments they were put to the test and reference intrusion, vandalism and theft. The use of steel and aluminium was introduced to my work recently as it relates to the materiality of Dublin, a place which is experiencing rapid redevelopment. Much of the traditional architecture of the city is being swapped out for towering metal and glass buildings. These works must be hung at a height of at least 2.1m, this is in keeping with regulations around installing wall toppings.
Mixed media on laser cut steel, 70 x 40cm, 2021.
These works reference the fence toppings which mark the delineation between public and private property. They are commonly found on perimeter fencing to act as a deterrent to intruders. The subtle bends in the spikes often mark the moments they were put to the test and reference intrusion, vandalism and theft. The use of steel and aluminium was introduced to my work recently as it relates to the materiality of Dublin, a place which is experiencing rapid redevelopment. Much of the traditional architecture of the city is being swapped out for towering metal and glass buildings. These works must be hung at a height of at least 2.1m, this is in keeping with regulations around installing wall toppings.
Spray paint, emulsion, detritus, chewing gum and anti graffiti spray on perspex on road traffic barrier. 215 x 100 x 50cm, 2021.
This work examines the residue of graffiti removal processes on road traffic barriers and hoardings. These barriers / hoardings are used to prevent pedestrian and vehicle collisions and tend to be a magnet for street detritus - graffiti, flyposting, car pollution etc. They are exclusively cleaned by construction workers in a DIY fashion, in this case using spray paint and anti-graffiti chemicals. These spray-painted buffs are called ‘maltreated removals’ and are used as a quick solution to masking over abusive or political graffiti. These types of scrawls differ from traditional stylised graffiti and are often referred to as ‘WOWO’ - writing on walls and objects. Many painterly and expressive compositions are created as a by-product of this cleaning process. With my work, I aim to encourage people to look at public space with the same creative lens they would use in a designated art setting.
Spray paint, chewing gum, oil, detritus on tactile tile with steel frame. 60 x 45cm, 2021. This new work is part of a larger series which investigates methods of communication, in this case - focusing on 'tactile tiles' and sprayed construction markings.
Tactile tiles are a system of textured ground surfaces found on stairs, footpaths and train stations among other places. These tiles signal messages or warnings to visually impaired pedestrians and are interpreted through their spacing and texture. I was drawn to use this material due to it's high level of visual texture and to show how we communicate through touch.
In 1976, construction workers accidentally cut into a petroleum pipe beneath the pavement in California, leading to a large explosion. This accident was the catalyst for 'the systemization of critical colour coded utility markings'. These markings are deciphered by construction workers daily and denote various meanings. For example - blue marks signal water pipes and yellow signifies gas, whereas red marks show electricity cables. These sprayed markings exemplify another kind of communication, one concerned with language. With this new body of work, Stephen combines these two visual languages to make artworks which highlight the painterly and communicative characteristics of public space.
Spray paint, chewing gum, oil, detritus on tactile tile with steel frame. 60 x 45cm, 2021. This new work is part of a larger series which investigates methods of communication, in this case - focusing on 'tactile tiles' and sprayed construction markings.
Tactile tiles are a system of textured ground surfaces found on stairs, footpaths and train stations among other places. These tiles signal messages or warnings to visually impaired pedestrians and are interpreted through their spacing and texture. I was drawn to use this material due to it's high level of visual texture and to show how we communicate through touch.
In 1976, construction workers accidentally cut into a petroleum pipe beneath the pavement in California, leading to a large explosion. This accident was the catalyst for 'the systemization of critical colour coded utility markings'. These markings are deciphered by construction workers daily and denote various meanings. For example - blue marks signal water pipes and yellow signifies gas, whereas red marks show electricity cables. These sprayed markings exemplify another kind of communication, one concerned with language. With this new body of work, Stephen combines these two visual languages to make artworks which highlight the painterly and communicative characteristics of public space.
Emulsion and spray paint on wood, 80 x 60cm, 2021.
Buff : (noun / verb) - The erasure of graffiti by painting over, chemically removing or pressure washing. Stephen’s ‘Redact’ artwork series explores and examines the process of buffing. He focuses on the amateur removals created by property owners and maintenance companies using spray paint and other DIY means to cover over and obscure tags, a quick fix approach until a professional team can carry out a removal. This process results in hazy and erratic compositions, which differs to the more conservative professionally created buffs. Stephen’s work is a painterly form of documenting what he see’s in public space, through his work he archives and frames these buffs into an art context.
Emulsion and spray paint on wood, 80 x 60cm, 2021.
Buff : (noun / verb) - The erasure of graffiti by painting over, chemically removing or pressure washing. Stephen’s ‘Redact’ artwork series explores and examines the process of buffing. He focuses on the amateur removals created by property owners and maintenance companies using spray paint and other DIY means to cover over and obscure tags, a quick fix approach until a professional team can carry out a removal. This process results in hazy and erratic compositions, which differs to the more conservative professionally created buffs. Stephen’s work is a painterly form of documenting what he see’s in public space, through his work he archives and frames these buffs into an art context.
Spray paint, emulsion, detritus, chewing gum and anti graffiti spray on perspex on road traffic barrier. 215 x 100 x 50cm, 2021.
This work examines the residue of graffiti removal processes on road traffic barriers and hoardings. These barriers / hoardings are used to prevent pedestrian and vehicle collisions and tend to be a magnet for street detritus - graffiti, flyposting, car pollution etc. They are exclusively cleaned by construction workers in a DIY fashion, in this case using spray paint and anti-graffiti chemicals. These spray-painted buffs are called ‘maltreated removals’ and are used as a quick solution to masking over abusive or political graffiti. These types of scrawls differ from traditional stylised graffiti and are often referred to as ‘WOWO’ - writing on walls and objects. Many painterly and expressive compositions are created as a by-product of this cleaning process. With my work, I aim to encourage people to look at public space with the same creative lens they would use in a designated art setting.