Informed by a background of collective practice, Daggs’ work is entrenched in the aural and rhythmic happenings of his surrounding landscapes.
His continuous investigation into sonic moments is described as an archival process, with a focus on the supporting documentation which takes the form of text, moving image, painting, sound and performance.
Employing recording methodologies in the making process, such as sampling and looping, allows appropriation to become a language of re-creation; “repetition with a difference” (9th Wonder, 2020).
Using the wider archive as a palette, combined with his own recordings, Daggs documents his culture in a coherent, though fragmented narrative.
BA Fine Art University of East London 2014-17
MA Fine Art Central St Martins 2019 –21
‘A Place That Reeked of Deja Vu’, The Bomb Factory Art Foundation, 2018 - Solo
'Front Room Show II', D Contemporary, London, 2022
'The Eyes of The Night Creatures', Delphian Gallery X Artsy, Online, 2021
'Dreamlands Pt 2', OHSH Projects, New Oxford Street, 2021
‘Prologue’, Perlona Common Room, Shanghai, 2020
‘Do Knot With Er’, LUX Moving Image, Online, 2019
Statement about AOAP Submitted Artwork
In the early '90's I discovered a stall in Camden Market that sold bootleg albums and VHS tapes of Live music performances, I bought a 'Public Enemy Fight The Power... live!' VHS and a Nine Inch Nails Live tape too. I wish I could remember what the covers looked like, but I remember thinking they were brilliantly bad, and why couldn't all tapes have covers like this? More often than not nostalgia plays tricks on us; the collective memory is easily influenced and distorted. These are imagined / remembered / remixed covers for bootlegged live shows on a VHS cassette bought off a stall somewhere in the back end of a market.
Please do not bid on artwork in our Art on a Postcard auctions if you intend on selling the artwork after you have purchased it. This auction has been organised for charity and all artworks have been generously donated by the artists to raise money for the Hepatitis C Trust. When the work produced for the charity is sold on the secondary market it damages our relationship with the artist and prevents us from fundraising.
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