Jamie Hammill

The making of my work mainly begins by sitting within a point of confusion, trying to figure things out and wondering which way to move. Often, the outcomes of my making feel to me as though they are sitting in a similar point of confusion. There is a desire to be direct and honest, while simultaneously the desire to pivot out of view whenever meaning or clarity threaten to reveal themselves. There is a desire to document, for example, the multiplicity of the everyday but also to say ‘Fuck the everyday! I’m moving to Palm Springs.’ The work is in some sense entangled with my inability to fully express in plain speaking how exactly it is I feel about things and why exactly I make what I make. The making tends to straddle between (sometimes reactionary) intuition and thorough critical engagement with its subject matter, placing no higher importance toward either one of these processes. The subject matter feels increasingly scattergun and evasive. There is a relationship to queerness, popular culture, fashion, doubt, masculinity, intimacy, the everyday, humour, furniture making, problematics and craft but often I find myself unable to understand exactly how all these things fit together. It is through intuitive movements that I attempt to draw connections between things in order to try and make sense of them. Usually I do not know if these connections will stay fixed or eventually reveal themselves to be flawed, wilt and drop away. There is a desire within my practice for the objects I make to offer a way of upturning or disrupting things that may feel culturally pervasive. For example, I am interested in how a pair of jeans is defined by the more than the fabric itself; the label, fitting, tone, embellishment etc. all factor into the meaning of the object. They can at once represent so called high and low cultures, queer cultures, cowboys, work-wear, musical subcultures, the cool, the uncool and I am sure much more beyond this. It is this duality of pervasiveness and multiplicity carried within the object that I believe gives the opportunity for its meanings to be confused or interrupted or for multiple meanings to collide at once. I work mainly across sculpture, music, video and performance. Often, I place sculptures in conversation with time based works. In the past they have featured in DIY music-video style films and more recently I have placed home-made bedroom-pop songs/ musical collages within objects to be listened to via classic white iPhone headphones.


https://soundcloud.com/jamiehammill/song-california-here-i-come




The Newbridge Project