‘The interesting thing is that you get ikat from Uzbekistan to Indonesia, but also tartan in northern Thailand, even though it’s synonymous with British brands,’ says the textile artist. ‘I’m interested in these cross-overs, rather than saying “this is British and this is Thai”.’ Through his explorations, he is also highlighting the nomadic, cross-cultural and placeless nature of textile production itself.
While learning traditional weaving skills, he has also been experimenting with his own methods – specifically, a tassel effect in which strands of the warp thread hang loose, disrupting and complicating the image. The drooping, nostalgic form that this process produced reminded him of the trails left behind by fireworks and of weeping willows – and were the basis of the works he is showing at the Jerwood Space. His latest textiles are wall-based, framed pieces that incorporate elements of both tartan and ikat – bringing together the rigid grid of the former and the feathery looseness of the latter.