ANNIE GRAHAM

Thinking of the term “craft” as a transformative and non-linear process, my work aims to rebirth, or recode, politics behind the workshop – without gender politics being imposed onto myself as an artist. Indeed, the work is not intended as “female artist within the workshop”, rather how can I master my craft in order to create space and accessibility for others that aren’t traditionally invited into such spaces. Like many other queer creatives, my primary areas of interest growing up came from monsters and mythology.

Sustainability and the idea of transformation are central to my practice. As a working class artist, accessibility is important to me and informs my chosen materials. I only carve discarded woods, giving them new life as artworks.

Observing modes of articulation in childhood toys reintroduced me to the concept of learning through making. Incorporating movable features extends the potential of a carved sculpture and allows interactivity with an audience. The notion of “play” subverts polarities such as fear and attraction; beauty and repulsion.

In response to the cancellation of the Degree Show I have started experimenting with 3D scanning to show my carvings online. I have transformed my small flat into a live-in studio and I often go to bed with woodchips and splinters in the sheets. However, I’m grateful to have my work to distract me from the uncertainty of graduating at this time.