How did you start curating?
It started as a way to find a way to find a purpose for my own practice. There is a lot of time when creating art where you are wondering when the next project is going to be. Trying my best to organise any projects myself seemed like a way I could always have something to work towards. There was never a shortage of fantastic artists wanting to be involved in or creating their own shows, so when a space became available it seemed like such an obvious thing to try and do.
How did you get involved with the Electrowerkz project?
I moved to London to study art and got a job behind the bar at Electrowerkz the same summer. I worked there throughout my studies and a few years after, spending what was a very important time of my life becoming amazingly close with the Electrowerkz family. I left to continue curating and developing my practice. The people I worked with at the club were always at my shows and when there came a chance for this venue to engage with art in this way you invited me to come and take part.
What excites you most about this project?
The people and community in this place probably. There is such a variety that you will inevitably be interacting with so many different takes on the work. There will be some people who are new to art and that excites me too. I obviously value the conversations that can be had through art, as well as valuing a lot of the inclusive things about this venue, so it's a great challenge to try and capture the soul of Electrowerkz in that way.
What were your thoughts when bringing this particular collection of work together?
The paranormal is one of my favourite topics. It’s more than often wildly bizarre and at the same time one of the all time important questions. The centerpieces of paranormal discussions like aliens or ghosts all seem to be ways of trying to address fundamental questions about life, often asked in other ways considered more ‘serious’. I like the madness in the face of important questions, art feels like that sometimes. Art and the paranormal seem comfortable in the same space of strangeness so its quite a nice language to talk about odd things in.
A few previous projects of yours have involved monsters or the bizarre, what is it about this that you like?
Monsters are easy to understand, even a child can make sense of that narrative and it makes the whole show so much more accessible.There are so many narratives you can explore with them and so much of art is conceptually inaccessible and leaves a lot of people out. I think something like monsters brings it back to everybody, there are different ways to do it of course, but monsters are fun one.
How do you plan the individual themes and find artists for the shows?
There’s not a specific method for selecting themes. You know it's going to have a darker element and it's an alternative venue so I feel there will be a lot in exploring the fringe which is where I feel comfortable anway. As for finding artists, people you know from the studio are a great place to start and it's what I relied on for a lot of my first shows. After that it just spreads out, artists are always recommending their friends and the community grows. Social media plays a huge role in all of it too. It's a tool that literally connects everybody who knows each other and pretty quickly the London art scene starts to look pretty small, especially with emerging artists who all want their work to be seen .
What is it about early career artists that you find so exciting?
It's a time where their work is really volatile and changing all the time. They feel in general a lot more free to try experimental things. The work seems to more consistently come from a genuine place. Their exhibitions are often more wild and for better or for worse I think I prefer that. Work is sometimes limited by if it can be transported on the tube for example, it adds an intense element to sustaining a practice. It doesn’t get enough focus for such an interesting and important part of an artist's career.