A new era of development is underway in my home town Croydon, and, similar to the zeitgeist of the 1960s, a feeling of uncertainty is once again present. A key aspect of my practice is an investigation into this ever-present incertitude in change. Using concrete as a signifier of place, I am drawing attention to particular areas that are in transition by disrupting and capturing these environments with sculpture and photography. I subtly interrupt spaces using small cast concrete forms that mimic architectural structures, then photograph this interjection uniting them in a single plane. By printing images of buildings in abeyance onto concrete layered surfaces, I am giving further emphasis to the material that lies at the heart of my own lived environment and the imminence of change.
The particular areas that I am focusing on were built with intentions of functionality and to be places of creativity and culture, but they failed in their ability to fully realise these intentions; in highlighting these places I am capturing them in a time of stillness before demolition. Though Croydon’s sense of place is defined not only by its buildings, it has so often been described as a ‘crap town’ due to its problematic architecture and unstructured town planning, yet its residents are quick to defend it due to a strong sense of pride in its undeniable uniqueness. Croydon’s ubiquitous greyness brings about an often sombre mood but there is a melancholic beauty to be found within the concrete jungle.