Two-dimensional image making is central to my practice, and etching is a core discipline.

I think of these images as visual metaphors, that is as imaginative redescriptions of the world - or proposals for possible worlds. They are not intended as puzzles to be solved, but simply as resources to be used. Despite their superficially Surrealist references, they are not attempts to access the unconscious: rather, they are attempts to exploit it. My position is that of Marlene Dumas who has said 'Looking at images does not lead us to the truth. It leads us into temptation.'

These images are invitations to engage with a sensibility. My own key contextual points of reference are both visual and poetic: the collagists (especially Cornell, Blake and Cieslewicz); the imagist poets Pound and Eliot; absurdists like Samuel Beckett …

My subject is the individual's experience of alienation, anxiety, the uncanny and the absurd.

In terms of method, I often select and arrange the elements within each image in ways that deliberately confuse their categories and conceptual status. I try too to remain unconstrained by my own interpretation of the composition's potential for reference. The image must work, if it works at all, in terms of the affects it triggers in the viewer - feelings, memories, associations, affinities.

The titles of my images (where they have them) are not descriptions. They are not intended either to identify or delimit the range of meanings available to them (though they are naturally read as such, at least initially); they are, rather, an additional textural element that I include with the aim of complicating the image further. They are not meant to secure meaning, but rather to reinforce the insecurity of meaning. 




Eric Storey, 2014