My practice is concerned with provocatively repackaging elements of targeted branding, consumer advertising and everyday items of consumer culture. Inspiration from brands 'copyrighted' colour schemes, mass repetitions of products in shopping environments and synthetic supermarket interiors, all form the basis of my work.
Simultaneously, amidst the restrictions of the Covid-19 pandemic, I have explored ways of engaging with the human sensory experience, through utilising situationist techniques as well as rejections and interactions of colour. This part of my practice is best exemplified through my ongoing outdoor series 'Purple Circles' and the two paintings; 'Continuous Cacophony' and Continuous Cacophony 2.0'.
My work aims to define our societies ‘aesthetic fetishism’, particularly within the social media sphere and our ever-narrowing human experience, through our need to curate and brand ourselves online. Within this, I conceive my work in relation to shopping theory; we are what we buy/consume and use our belongings to project a desired image of ourselves. However, through sometimes elevating the disposable inexpensive everyday items (that we regularly discard in today’s culture of materialism and expenditure obsession) to large scale paintings, I aim to add a level of irony to my work.
I draw inspiration from David Batchelor’s ‘Chromophobia’ and Josef Alber’s “Interactions of Colour’. In working with flat, manufactured synthetic tones of colour, my practice particularly comments on this aspect of the superficial that Batchelor describes. However, instead of adhering to Batchelors rejection of this logic, I conceive my work within these preconceptions, using them to create something that becomes ‘completely cosmetic.’ In that through colour I can create, ‘a surface that covers a surface or distracts from the reality of what’s beneath it.' The painting can become both a seduction and a distraction.