In my painting practice, I am moved by the narrative inherent in still life, and how relationships, contradictions and moods are conjured through the placement of memory-laden and contemporary items in dynamic compositions.
My work also explores the tension between my own Modernist upbringing and influences and the Post-modern ideas that continue to shape my approach to painting.
I have an interest in photography and the photorealist
movement. As well as Pop Art in so far as the still Life
object is explored and depicted.
In my art practice I have been exploring ways to represent the aura of objects and the impressions and non-material presence they might hold. For my latest works I have been finding ways to render objects from my childhood, including my late grandmother’s crocheted doilies, which I have placed onto different grounds and used as a template for drawing into negative space.
My process begins with the crafting of a support, in materials such as muslin, embossed paper and canvas. These provide complex and textured grounds onto which I apply a range of materials – such as ink, rust, bleach, graphite and dye – to activate the surface and present the object’s simultaneous presence and absence in time and space.
My work draws on the traditions and ideas of the Femmage art movement, which has enabled me to see my grandmother’s craftsmanship as a form of expression that informs my practice as a female contemporary artist. I have also been inspired by artists like Clare Humphries, whose print-making practice works to render the aura of the objects that belonged to people who have passed, as well Jude Rae’s two-dimensional drawings that capture the multiple dimensions of memory and emotional weight of three-dimensional objects.
My identification of objects as subject matter is personal with the hope of universalising individual memories and formative childhood experiences. I want to continue experimenting with drawings at the intersection between fond memories, comfort, trauma and loss.