LOOKING AT DAVID
2025
‘Looking at
David’ is the start of a new body of work, which examines the ways in which our
relationship to heritage and the past has become increasingly mediated through Google.
Reviews, contextual information and user-generated content, such as 360 selfies, allow us to supposedly see, know, and evaluate these meeting points with the past before, during, or even instead of visiting them in person.
Reviews, contextual information and user-generated content, such as 360 selfies, allow us to supposedly see, know, and evaluate these meeting points with the past before, during, or even instead of visiting them in person.
All images contained within the work are based on are
based on content that has been sourced from user-generated content from Google
maps. This particular set refers to the statue of David, a replica of the
original by Michelangelo, which is housed in the V&A museum, London.
The work is intended to be viewed through a phone, in order to activate embedded AR layers.
The work is intended to be viewed through a phone, in order to activate embedded AR layers.
German-English Illustrator, based in Brighton, UK
I am an illustrator and educator, with a
particular focus on sequential narrative and drawing.
Much of my work focuses on exploring how illustration can be used as an active tool for understanding, interpreting and re-evaluating dominant narratives and discourse about historical events, asking: How can illustration add to our understanding of history, how can it challenge it?
I am interested in exploring and highlighting the ways in which history is recorded, suppressed, remembered and distorted. I have become particularly interested in how meaning and underlying power structures contained within archival records can be interpreted through the act of drawing.
More recent projects and research have become focused on the use of auto-ethnographic practices within comic making, the use of digital stimuli within illustration, and expanded definitions of illustration practice.
Much of my work focuses on exploring how illustration can be used as an active tool for understanding, interpreting and re-evaluating dominant narratives and discourse about historical events, asking: How can illustration add to our understanding of history, how can it challenge it?
I am interested in exploring and highlighting the ways in which history is recorded, suppressed, remembered and distorted. I have become particularly interested in how meaning and underlying power structures contained within archival records can be interpreted through the act of drawing.
More recent projects and research have become focused on the use of auto-ethnographic practices within comic making, the use of digital stimuli within illustration, and expanded definitions of illustration practice.