In my aim of documenting the here and now of these Digbeth streets, I do so with a sense of surrealism yet realism. The idea of a surreal essence, mirrors the cusp of the unknown change that these streets will face in it’s near future. The strange nature of the contrasting styles that Digbeth will further amalgamate to. Also giving comment that its not just the physical that will inevitably change, but the people and its energy too. 

My process starts, and continuously refers back, to collating on site data; of drawings, mark makings, rubbings, object collecting and photographs. These organic base marks, allow me to capture the energy and movement of these streets, which I then build upon, in documenting the physical. My large illustration pieces are all created this way. These are the foundation to developing my screen print landscapes. These refined and carefully collated pieces are created on mark resist, through painting and drawing, mainly using the medium of inks, some charcoal and graphite. Applying these in more differing applications than the mediums itself. These techniques and applications are key in gaining its textures and marks. The labor of layering and re-working is then transferred to the screen printing process. These have been the most challenging screen prints I have ever made, due to the size, the detail and textures. It has taken me months of perfecting the print stage alone. The series is printed on to the premium G.F Smith papers, Colorplan and Mohawk. With funding, I hope to continue to develop more screen prints and original illustrations of these Digbeth streets.

The context of this project is something that has been prevalent in my mind ever since moving to Birmingham. Ever-being built, and constantly under construction. Even my short few years here has been marred with an unerring sense of change. Its polar to the coastal land of Pembrokeshire, Wales I have grown up in, which perhaps has lead to this heightened sensitivity.

The brutalist nature of Birmingham both lies with in it historical architecture and intent to develop and move forward. The beauty and sense of tragedy that lies within this relationship is nowhere more evident than Digbeth.

Digbeth has seen incarnation from its industrial heritage to the urban arts scene it is layered with today. The unwanted spaces left behind as the industrial age moved on, became adopted by the underground creative. Utilizing the “waste” space of what came before, and using every inch of its strengths. It holds many gallery and studio spaces, to its external graffiti art works, community hubs, food experiences, clubs, pubs, festivals. The custard factory being an early pioneer of this.  

This once unwanted place, is now desirable and cool, bringing the attention of major gentrification powers. Gentrification, and its already proposed plans for the area such as HS2 and towering flats, will have a drastic effect on this truly unique creative quarter. The middle class metropolis will move in, and the creative pushed out. This displacement of the lower earning in favour of the higher, will see a sense of dissolvent to Digbeth’s arts.

The imperfection of Digbeth, is where its beauty lies. The bond of the creative to this place lies within its difference to the city. They are parallel in being colourful outcasts to the monotony of the concrete jungle. of the city center. This space, I have had the privilege to explore and love, that I have felt most connected to during my whole city living, will reincarnate once again.