BIO

David Roskilly aka fullOM

artist, designer and photographer born in Cornwall, UK

I moved to London in 1976 and saw the revolutionary collage of the punk phenomenon, Jamie Reid’s art and Vivienne Westwood’s t-shirts.

I also saw my first Richard Hamilton collages. My first job was operating a PMT camera. I took the contents of the waste bin home and began working in collage.

I went to college @ saint martins in London in the eighties and started Reactor Interactive in the nineties (web + multimedia design studio in Shoreditch, London).

In the 2000s it mutated into Creator Design based in Hackney Wick and later Haggerston, London.

After many years living and working in London, I'm now based in Cornwall, South West of Somewhere.

I’m very interested in...

The intertextuality on every surface of the modern urban environment.

The patterns in the urban anarchy (and the abstract against this backdrop).

The mysterious analogue patterns and signals of nature.

How these patterns can be recontextualised to transform our living and working spaces.

I sign my work fullOM. It’s a long story.

I’ve always worked in collage. I’ve always loved it.

ARTIST STATEMENT

Strange things happen when I finish a collage because I immediately lose ownership. I don’t give it up. It’s just not mine anymore. It’s a separate thing and I feel no involvement to work on it again. Now I’m just as much a viewer as anyone else.

I don’t seek perfection. There’s always a point when the work is done. Move on.

When people ask what I was thinking when I did a particular piece, the answer is already mute. The real question is what are they thinking when they look at it now. Collage is many things, not least conceptual.

My most important work is always the one (or many) I’m working on. There is an irresistible impulse to do it.

I tend to work in series because when is the process is flowing one single piece of paper or canvas is never enough to contain it. It always spills over. Happiness is a studio full of work everywhere. Out in the open, waiting.

I think intuition in any work is hugely important. But it’s like a muscle. It has to be constantly exercised. I’m always scanning. Always on.

If something I’ve done activates a person or a space I’m always happy. But I remember it’s not mine anymore.