About the artist
MA Fine Art, Central Saint Martins, London, 2018
BA Fine Art, Cardiff Metropolitan University, 2012—2015, First Class Honours.
For an up to date CV including exhibitions, please visit the artist's website
My practice involves the use of painting, sculpture, sound and poetry. The aim is to challenge the properties of the material by adding contrasting substances to create a resistance, i.e. watercolour, oil, turpentine, gloss and household filler. Learning about the fluidity of material leads the process to have playful importance to the making. The act of using colour is a performance, a romantic compelling act to articulate my thoughts that cannot be expressed without colour. I want to capture the fluorescent, the manufactured, the organic and the artificial, following on from a fascination that has derived from seeing a pink plastic object on the Welsh coastline during an art project in college. The fuchsia pink stood out against the natural grain of the sand, and it has been a memory that stimulates the need to show constant vibrance in the work.
Expanded painting is being challenged by using the materials sculpturally, by creating a foundation base of acrylic and oil. Colour is a tool that is present, and will always exist in the work. The more that I learn about the variation in colour, the more I understand its complexities are everlasting. Colour makes visibility, and I want the everyday objects to be noticed, questioned and challenged through a language that responds to the world of today.
Glitter, gloss and shiny copper leaf are displayed to comment on this desire I have when I view a sparkly substance, reminiscing of the reflection in the sea. Plastic is always present in the work, reflecting on how the material is everywhere.
By arguing over the traditional and creating playful new inventions, with references to dog toys, samurai swords and pink feathers, am I responding to the seriousness of what art is?
I aim to capture the work before it collapses into a kitsch decoration, I want the painterly sculptures to be on the edge of declining. Elements of excitement, curiosity and ambiguity self- reflect within the work.
Destruction and experience are two elements that are paramount to the process, constructing and then deconstructing the forms,taking the working function from found objects help to respond to the information received in this artificial world. Destroying any narrative and direct representation of reality is what I find fascinating. An element of ‘falling’ is always present, by the work being on the borders of abstraction and figuration. Will the work disintegrate into a memory, due to its afflicting nature? Or can it be held due to the strength in the materiality? I use vibrancy for hope as I question, am I doubting the rhythm of collapse? responding to the uncertainty of the/my/our future.