There are a number of different strands to my work. There is an ongoing site-specific project where I have created one-off interventions within a space. These interventions built from assorted coloured tapes stretched over a wooden timber frame, incorporate both formally and functionally the existing architecture. Through the use of painting dialogues and construction site aesthetics I hope to challenge assumptions of where the artwork ends and the space begins in the hope of achieving some sort of resonance with the space.

The ‘tree house’ can be seen as combining structure and physical location by literally ‘embracing’ its physical context. I am fascinated by both the political and ad-hoc nature of these structures. This has led me to the next side of my practise, which takes the form of architectural models. These models are intricately and intuitively constructed from recycled wood, Formica, laminates, glue, tape and screws. They are in a way conceptually opposite to the site-specific side to my practise in that they hope explore ideas around the hermetic and self-sufficiency of the ‘art-object’. These self-contained sculptures perhaps suggest a potential for a new utopian society that isn’t restricted by aesthetics, politics and social values. It is a vision of an idealized if ramshackle world, a place where architectural idiosyncrasies clash with ‘tree house’ ideologies where paths if you’re lucky lead to ‘nowhere’.

The final and perhaps overarching strand to my practice is my drawing. Taking much of its starting point in existing architecture, which is then examined, mutated and undermined to create something even more fantastical. It feeds and informs both the site-specific and the architectural models and also serves to authenticate their own reality.

Dylan Shipton
Artist Statement 2009