I am interested in the emotional connections and memories that people attach to objects and places. Through ambiguity as well as combining different types of representation, I aim to create a transitional space where a dialogue is created between the painting and the viewer. My paintings use variations of visual language with reference to photography and digital art, creating a level of ambiguity that questions what is real and what is artificial, relying on the viewers own visual experience of the work. The combination of cliché objects painted in a realistic way alongside the visual indeterminacy of where they are situated, creates a liminal space in which different interpretations of what is being represented can be made.
A summary of work created during my first year on the BA Fine Art course at City and Guilds of London Art School.
I often take photographs and discover objects that are rusted, weathered, dead or dried which I then take back to the studio. I found that representing objects I had collected didn’t hold as much interest as the original thing or landscape they came from. My research has involved looking at the history of the sublime in art; at different artists’ approaches to that which cannot be represented or replicated. By researching a wide variety of material processes I have been able to produce works that evoke ideas relating to beauty, decay, construction, deconstruction, seduction and repulsion.
I have been interested in the emotional connections people have to places. Taking my family’s home in France that is over a century old as a departure point, I made a painting that intended to simultaneously encapsulate the dilapidation of that house as well as the beauty that can be seen in this decay. I experimented with materials, objects, representation and illusion when making this work. I aimed to produce a painting where there was a suggestion of a space but one in which the viewer was immediately made aware of the two dimensionality of the canvas.
A large part of my fascination with landscapes and the objects I find is the atmosphere of those places and my experience visiting them. In my transcription of Titian’s ‘Bacchus and Ariadne’, I chose to reduce the original composition, leaving just the boat and the surrounding environment. I aimed to reflect Ariadne’s emotional turmoil through a stained, gestural and heavily worked surface.