My work relates the physical nature of walls to painterly concerns of representing flatness, perspective, and permanence, influenced by colour field paintings. Oil paintings and assemblage works, aim to convey a sense of suspense, depicting moments before something climatic; akin to “there (being) no terror in the bang, only in the anticipation of it," as Hitchcock says. Performative notions of the fourth wall relate to the treatment of the illusory picture plane: paintings push a stage set aesthetic where the edges of each painting -like what happens behind walls- contain an anticipated form of action.
I have been awarded an RSA John Kinross scholarship, intending to use this research opportunity to broaden my interests in walls by retracing Florence’s ancient fortifications.
Oil on board, 22.5 x 18.5 cm
Midnight Harvesting was made in response to a combine harvester whirring at night in the field next to my house. You could hear it, but not quite see it or what it was doing to the land. This provided enough interest for me to make a painting, imagining the harvester’s moving parts. Broad brushstrokes of blue collide in nuanced tones and the colour scheme made me think about delft blue tiles and processes of reproduction and how this relates to mechanisation in both harvesting and the making of ceramic tiles hence the decorative corner motifs.
Fixing A4 drawings and paintings around a repurposed table from my local tip, 243 x 122 x 95 cm