Andy D'Cruz: Ryan,

I have been drawn to your work not only because it resonates with mine in mood and atmosphere, but also we seem also have a desire to communicate a charge, something we have felt from experiencing the places or situations we have found ourselves in.
This quality seems for me to lie within the place, and is referred to not in mere depiction but as a more embodied entity within the work. I like the feeling of something being imprinted, left to be re-experienced by the viewer, a feeling of returning to the scene, a place of importance, an eerie sense of place.
I especially appreciate your comment ‘between memory and reality’. I also like the notion of these being confused with dreams as well as other peoples shared memories and common experiences.
Anyway great to see it, maybe you could comment some more?




Daniel Leng: "It is what it is. The writing is the drawing and the drawing is the writing." I love that statement. It sounds so simple (and it is in a lot of ways) but it is profound at the same time. Chris's work strikes a chord with me on many levels...

As a human, I'll note that I'm also of the "mid-life introspection age" and the ideas contained within the works are so funny, ironic, and truthful to me. I empathize heavily with the search for honest expression that is evident in this work. The irony of the moment when you decide to "throw it all away" being the most profound breakthrough...

As an art historian, I value visual art as communication above all else, so I love the fact that this work makes the arguably cryptic language of abstraction accessible to all (who can read english). These words are symbols, but they are also well... words, for all to enjoy and read... beautiful in both their meaning and their rendering as objects.

As an amateur graphic designer, its a lesson on color, composition, and typography...

As someone who is interested in the process of viewing art, I'm captivated by this particular piece, as it is about the viewing process itself... how layers of complexity are slowly revealed over time, and how that coexists with "something for sale" in the art world. The work poses an interesting question about the value of art... and perhaps its potential value?

More soon perhaps. Lots to think about...

Christopher Taylor: Thanks Dan!

The text that is used in this painting was gathered from a group critique I had while I was at a artist residency. These words and phrases were for another painting that was being discussed and I thought it would be fun to make a painting about the language of that discussion.

So you are on to something when you are thinking in terms of the process of viewing, becasue that is what it's about. The process of a group of people ( the crit) thinking and communicating about what they were seeing and the language they used in how were seeing it.

Also check out the painting Flying V; that is about value.


Catherine Haley Epstein: Without knowing the background or context of the piece, the work is extremely provocative, and to me successfully shouts a sense of being stuck, of claustrophobia and of an accident. Reading more in your comments and now realizing it commemorates a central laundry service mainly staffed by women, I wondered if you had any knowledge of the feminist movement of the last 1/3 of the 20th century where slogans such as "the personal is political" was the rallying cry. It's an important turn of perspective - realizing that the personal, that which happens in private, inevitably becomes public and therefore political. This stands counter to the adage you shared that dirty laundry should not be washed in public. Inevitably dirty laundry becomes public AND political - there are really no borders, the borders are constructs we create to comfort ourselves. Thank you for the thought provoking piece!

Rodney Harris: Thank you for your comments and revealing perspective. I agree that we create borders for our own ends and which support political ideals. Apparently the richest areas of biodiversity are found in and around borders between sea and land, river and land etc. This has parallels within the edges of our societies and exploring these borders are a rich source of inspiration. Of course a brick wall is an almost permanent border, yet manipulating its surface plasticity introduces questions about its nature.
I was not aware of the feminist movements slogan - "the personal is political", of course it is true, and interestingly the laundry on show will become dirty over time supporting your statement that inevitably dirty laundry becomes public and political! It also reminds me of the Victorian idea that you should always wear clean underwear just in case you are killed and people have to remove your clothes. How shameful to be found dead, and in dirty underwear!

aldobranti fosco fornio: this work resonated with me having just scanned above Richard Hughes "The first one" -- a fist and finger emerging from a wall, so a visual similarity but saying different things -- the candle referencing a timelessness in religion, this work pointing to the eternal of the quotidian.
but the plasticity of clay, none of it truly lost by firing also presses my buttons from the first ceramics classes thro the squidginess of wet processing photographic film

Etty Yaniv: Love this work! It's precise yet open ended like a good poem. It is quite a challenge to avoid a one liner trap and be able to convey complexity in a concise way, which is both iconic and open to interpretations. In my mind, Public art is most evocative when it functions like an immediately recognizable sign mixed with an element of the unexpected, the extraordinary. Passing by your work, would make me stop, look and think about the juxtaposition between cloth and brick, mobile and stationary, soft and stiff, body and architecture, private and public and the associations go on and on. I hope I get a chance to see it in person one day.

Rodney Harris: Thank you for your comments Etty. You have referred to many of the juxtapositions that exist in the work, brick is a medium which continues to fascinate me. I like the fact that it is a common vernacular material at the lower end of the scale of materials. It is an abundant natural resource in this area and so to use it for sculpture is like using wood in a forest. Also I think it is the illusion apparent in brick relief which adds to its appeal.

Janet Curley Cannon: This is a wonderful public art piece, it will make passers-by stop and observe their surroundings, contextually working for those that remember a laundry use to be at the site and those that don't, those that like 'Art' and those that say they don't understand art. I like your comment about the 'dirtiness' that will accumulate on the work, perhaps a future performance art piece of 'washing'?. Curious to know was this a work commissioned/funded by the local council or a private commission?

Rodney Harris: Thank you Janet.
The piece was commissioned by a private company, a commercial property developer under the section 106 planning law. If you are not aware this law forces developers to include some aspect of public art or community development in their development. The local council were involved as they had to approve the work and they provided a little funding for a workshop in a local school. Its a great law and has funded a lot of public art in the UK.
I agree that the work is accessible for local people to read, hopefully its simplicity is engaging and engenders curiosity in the viewer.
Light is fundamental to how the work is seen, and how it changes over the day and seasons is one of the most interesting factors in placing artwork in the environment.
Yes is it interesting how it will weather and the laundry will get dirty over time, I will revisit the work periodically and photograph it, and a performance would be fantastic, thanks for the ideas.

Rodney Harris: Thank you for your comments.
I think it is important when making work which has a specific reason for its existence that it is able to stand alone without its history being known. Therefore there is no interpretation information at the site, it encourages passers by to enquire or think about why it is there. Any form of public art does not necessarily have to justify its existence, but if it becomes successful will determine if it survives in the long term.
Using the fabric of the building as the medium for the artwork certainly embeds it until the building is destroyed. It also gives it a permanence which is interesting to explore through an artwork. In fact the washing hanging on the line will ironically get dirty over time, it will be interesting to see how it weathers.

Robert McCubbin: I like the idea of celebrating the past use of this site with a brick relief sculpture.
The former utilitarian use and need of the building now encoded and permanently recorded for all to see. It's importance to the commumity of the time now fixed in the 'present' as a reminder of the past.


Kiera O'Toole: HI Daniel,

Yeah, I really like your work- disturbing yet ambiguously beautiful.

RE: graveyards- many Catholic graveyards were build on the foundations of Pagan ceremonial sites, then when the English came, they destroyed or repurposed catholic Churches as Protestant Churches hence the mix!

Keep in touch!


Daniel Leng: It would be wonderful to see this series in person someday, to really experience the edges and surfaces. From afar, the work conjures the surface of a distant planet, ancient ruins, symbols, and systems all at once. It really seems to express something very real/tangible and something transcendent at the same time. Familiar, but alien. Everyday, but impossible. Lots of food for thought.

It's interesting to me that this work was produced as a combination of chance/circumstance and the human reaction to circumstance. A process that mirrors real life producing an artifact that seems to express the complexity in the real world...

One humble viewer's thoughts...

Kiera O'Toole: Hi Daniel,

Thank you for your kind and very observant words. They are much appreciated. The work queries Ireland's relationship with her religious and spiritual past so that we may consider our position at present. I did a year long residency researching graveyards as sites of departure particularly graveyards that were mixed: catholic, protestant and neolithic.

Thanks for connecting and I really like the conceptual framework and freshness of this site.

Do you have work I could view?

Keep in touch,


Daniel Leng: Kiera,

Thanks for the reply. Interesting about "mixed" graveyards. I admit that I've never given much thought to the idea of mixed vs segregated graveyards. I'm curious to learn more about your findings/thoughts in regards to that.

As for me, I haven't produced much work in the recent years... been working on more projects like this site, although I do need to make time. I'm a humble student of photography, particularly in love with old processes/materials. When I find time, I've been experimenting with darkroom processes that can express intimate moments from my life, although I haven't gotten there yet. An old image I continue to work with... here.



Jeff Bergman: This particular work Pincers seems to have both the elements of the folded objects you are creating portraits of and it exists as it’s own form within the painting. That is to say that your work is successful as both conveying the theme of the forms you are exploring but also the image can stand alone on the plane. The color offers a way to emphasize the shift in space and the way the folded shape exists.

I think that Thomas Nozkowski does this best in contemporary art, but many try and succeed at either making these gestures more complex (Julie Mehretu) or less complex (Mary Heilmann). I think it would be instructive for you to look at Sol LeWitt’s Complex Forms images from his wall drawings.

I wonder if you always make these paintings from a real model or if you ever imagine the form and try to access a truly expressionist folded form?

Marie Kazalia: Hi Louisa

I like your work! The contrast of bright and muted with this painting, and the "pop up" quality of the central form brought to mind folded paper and books. The central fluorescent color and form, the illusions and aspects, as you mention--I enjoyed reading your artist statement description in relation to this work.

Louisa Chambers: Hi Marie, Thank you for your comment! I have been working from an already creased piece of paper that is primarily used by architects for building models. As well as recording the tessellations and the main form of the shape- I am also interested in the shadows that the shape casts. I wanted to try and emphasise these inbetween spaces with strong gestural and colourful marks. Recently I have become interested in the façade (the front), middle and the behind spaces primarily in structures/buildings but also displays - in shops and/or installed artworks in gallery spaces.

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