My work is about following each piece and being intuitively
open to an unspoken dialogue that spans a breath of choices and unknown exit points.

For me being an artist is an act of prosaic looking that feeds making for heterogeneous artefacts that confront the real world. I see my work as an anthology of objects, each being a unique incomplete tangible question that collects personal provenance. What stimulates my work and research is the ongoing amassments of stuff I collect and own. Obsessions happen without acknowledgement and my inventory shows no boundaries to objects, just an attraction that I find it hard to explain other than: we find each-other.

Tuesday, 15 November 2016

'The Echo as Residue' Nexus Manchester

Mark Mcleish
The Echo as Residue
Mixed Media 2016
This installation brings together new work made specially for this space. I have been playfully curious recently of how archive material can provide evidence for traces left by the birth of other pieces of work. The selection process for the objects chosen in Beads were harvested from my studio space and floor preventing the destination to the rubbish bin and separating them individually from an amassment. These represent touchpoints of physical connections and conversations that would be possibly discarded and become ghosts within an echo of relationships that exist by different means.
Numb Points are solid casts taken from money thimbles. Filling the void in the making process became a tangible voice for there is nothing to count anymore, apart from these stones. Each embody differences that are forced by speed and repetition in the production of killing the wearable and memorialising assigned ideas to the original object.
Removing the Veil is a shifting body of work dependent on space. Each doll contains amounts of my hair from the past ten years. Thinking and challenging the idea of just how an object can become wearable is something I question a lot. These suspended revisions show how my work can live away from the body and represent intimate fragmented associations between body and objects.
Beads: 2016, found objects and plastic
Numb Points: 2016, British Porcelain
Removing the Veil: 2016, textile, human hair, porcelain, silk, hair nets


Ingredients for Cooperation, name badge

New Generation: Design For Living. Conference Manchester October 2016


my MA show, Jewellery and Objects 'Room For You'

Wednesday, 30 March 2016

working drawings

So, a few people have contacted me asking about drawing. How important is it to my making? How do I use it within my practice? I have chosen very resent drawings to illustrate this. I tend not to overthink the act of drawing and use it to document thinking. My mark-making ranges from very quick lines to a build-up of collage surfaces. I add text a lot as instruction and annotation of material. I see my drawings as key points of developments as a process of planning thoughts and material investigations. I do not limit myself to a type of media and papers and surfaces are important for the translation of ideas. I usually work on loose pages so I can pin them in my work space then collect them to form a sketchbook.


quick drawings for using glass
material compositions and textures


surface, form and colour
pin ideas

Saturday, 26 March 2016

Personal Provenance

a project revisiting turning points of my creativity. making pieces that can act as collectors, adding and amassing sentimental objects. questioning ownership and transition of making and the importance of nominating from personal archives.

working from objects in jars. learning from and using.
experimental casting
badges to collect. as part of kits...
jar finds pins.

works in progress: material thinking.
elevating the mundane moments.

Tuesday, 8 March 2016

Bygone Stones

Bygone Stones are made to sit on your body as part of a treatment at different temperatures. to aid meditation and points of deep personal inquest.

Accidental Archives

Material Thinking

Sometimes, music boxes