Linda Hasking

'To live is to classify' (Georges Perec) My printmaking practice is centred round objects in the places we inhabit. Fascinated by the way in which people accumulate possessions around them, I document through photography and then modify and collate the images made. Theoretical influences include Bachelard and De Botton and their writings on the sense of place and the emotional importance of our environments. Earlier work is particularly concerned with the contrast between loved possessions in the 'Real Home' and desired objects of the 'Ideal Home'. Two images combine through the mediums of original digital print and more traditional blind emboss. 'The subject is my own struggle with minimalism and clutter. As an artist I strive for the former and as a human tend towards the latter.' A recent project 'Make Do and Mend' has yielded still life images of a sort. Still the product of a documentation exercise - the lengthy images, effectively visual lists, each show the collected contents of individual containers. Something of the personality of the owner is revealed in each and a hierarchy of meaning - vanity, practicality, necessity - whilst a 'democracy of objects' (Michael Craig Martin), is evident in the equality of treatment of each subject. Admiring the still life compositions of Morandi, his beautiful images of commonplace items, I also work with objects in the commonplace, but my compositions are drawn together, not on a table or ledge, and in delicate light, but from the grouped pixels of existing images of individual objects. I trained at Winchester School of Art and work to commission both privately and in the public art domain. Public projects include work for Southampton University (an installation for the George Thomas Building) and The Making (50sqm digital mural and additional framed pieces for Everest Community College)