My practice explores the ambiguity of image, human presence and domesticated space.
I explore the home as our ‘natural environment’, our safe place which encapsulates both harmony and isolation. The figures are blissfully unaware of the outside world and whilst they interact with their household objects they seem to unknowingly merge in to the furniture.
I use oil paint to build up interesting textural qualities, often applied directly from the tube in an impasto style creating depth and sensation. As the viewer steps into the paintings the dense paint reaches out to the viewer.
I have always been drawn to Francis Bacon’s understanding of the human condition, further reading of this topic such as Gilles Deleuze’s Logic of sensation and Julia Kristeva’s The Powers of Horror have impacted my work greatly. Roy Oxlade and Victor Willing have had a huge influence in the way I tackle space and handle paint along with Willem De Kooning and Henri Matisse who’ve me to explore the figure and ground relationship. I love Rose Wylie’s freeness and it was her exhibition Quack Quack that inspired me to scale up my work.
What are your plans following graduation?
I plan to spend a year preparing for a suitable Masters. In May I will be starting an artist residency in Chongqing, China, where I will be staying for three months with three other painting students. I will spend the mean time living in Leeds exploring the art scene in the North and hopefully get a painting studio to continue creating work after I finish.
How have you found studying Painting at Brighton?
I could not have hoped for a more fulfilling and rewarding time here. The tutors are both inspiring and nurturing, teaching me to be critical and also experimental. The whole experience has enabled me to grow as an artist and develop a coherent visual language that defines my practice. The painting course was ideal and I feel extremely proud to have been part of it. Brighton has been perfect.