“The studio environment and the discussions that I have had with fellow painters on the course has been a significantly enjoyable part of the course.”
Please tell us a bit about your work and your influences
Synthesising from a variety of sources, I play with discrete motifs to inform a personal pictorial language. In this gestural dialogue, these motifs are not iconographic, but instead part of a choreography that is predominantly concerned with structuring a composition.
The paintings stand to engage with the physicality of the medium itself, visually documenting the interactions between myself and the painting, which often stem from a failure to represent an observation in the way I had intended.
Any preconceived expectations of the work are overridden by the unpredictable nature of material. The spontaneity of gesture creates moments of utterance and difference in the articulation of forms, which continuously change as they interact with one another.
Thinking visually through exploring the relationship between processes of drawing, printing and painting, I encourage the motif’s ability to poetically transform. As figurations emerge and disappear, although forms appear to be ambiguous, they are often referencing a personal reality or idiom where parts of the everyday are isolated.
When the filter of memory interrupts physical observation, objects are divorced from their original context, often resulting in a space of liminality that echoes the narrative between the physical and psychological spaces that I inhabit.
How have you found your course and what made you choose it?
My course has allowed me to fully immerse myself in my own studio practice through granting me the time and space to form a critical outlook on my work. The tutors have really helped me to develop my work in tutorials and my practice has consistently evolved during the three years. This course is suited towards people who are driven to continue to utilize their studio space to push their work forwards. The studio environment and the discussions that I have had with fellow painters on the course has been a significantly enjoyable part of the course.
Was the location of your course in Brighton more important than you thought it would be?
Grand parade campus has been the ideal location for my course. It’s central location means that I have been able to incorporate the studio into my daily routine. I have enjoyed living in Brighton over the duration of my course and the city has often inspired my work.
What are your plans after graduation?
In September I will be moving to London to attend the Drawing Year and the Royal Drawing School. I am looking forward to continue to develop my work though education and hope to do an MA in painting in the future
If you could give you 16 year old self any advice about going to University what would it be
At 16, I was unsure if I should attend University. I didn’t realise the extent to which it would benefit my work and I would enjoy the experience
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