James Clarkson is interested in understanding the relationship between everyday objects, culture and technology. This investigation is underpinned by a fetishised interest into materiality; his sculptures sometimes exist as a bricolage of hacked up, raw edged, repurposed objects and at other times are shiny, slick, glossy replicas. Through this duality between reframing and replicating, his work finds a playful approach to unpicking the speculative interconnectivity of things. For Clarkson, sculptures are ghostly bodies, which act as a reflection of where we are now.
More recently he has become interested in the role interfaces play in the organisation of information. He thinks of information as having a shape, something you can see, like a series of liquid transparencies, one laid on top of another. Interfaces don’t pull information together linearly, but manipulate it indefinitely, like water the information forms to the shape of its vessel. And through the use of interfaces, like with water, sometimes this information comes to the surface, sometimes that, sometimes nothing at all.