Statement July 2013 - I have included this as I found it difficult to articulate the changes in my work and feel that it is useful to make a comparison.
My work explores the concept of narrative painting which infers
fractured and implied stories. I am interested in referencing familiar imagery
whilst constructing ambiguous narratives; collecting, manipulating,
constructing and layering; glimpses of unusual encounters or games. Hybrid
figures represent child and adult; fiction and reality; gigantic and shrunken;
the juxtaposition of opposites creating a sense of the macabre and quiet
playfulness. Each figure is intended to captivate, challenge and disconcert the
audience with their gaze; placed like props or puppets they are both
manipulated and manipulative, their heavy heads hanging threateningly.
My practice draws on literature, myth, fairy and folk tales,
the writing of Angela Carter and Marina Warner. I am also inspired by the magical
realism of Paula Rego and Peter Doig’s uncanny landscapes, where figures appear
covert and awkward. The imaginary painted space challenges perceptions of scale
and uses context to emphasise tension and displacement. Central ideas exist
just out of touch of reality and hope to make the viewer question what is real.
Through falling, concealment, shape and scale shifting, my characters are taken
through a series of transformations forcing them to become a spectacle; they
intend to disturb and enchant the audience and jar with logic and sensibility.
My most recent work begins a series exploring alternate
truths where I am investigating the relationship between aesthetics and
concept. I am particularly interested in parallels between making and ideas,
for example how colour within an image can be used to manipulate the viewer’s
perception and alter mood. These paintings introduce themes of reflection and
the mirror, a sense of deconstruction and disorder. Figures begin to merge and
blend with each other and their environment, challenging the idea of identity
though slight alterations and the creation of parallel personas. This work
continues to juxtapose the playful with a sense of danger and menace through
more dynamic compositions which incorporate visual codes and clues.
Sometimes originating as composite photographic images, they
set up play between truth and construction; non-chronological snapshots suggest
narrative and hope to engage the viewer who is left to make sense of the
stories; to fill in the gaps and rearrange their understanding; to interpret
and activate characters within their environment. The role of drawing is also
becoming increasingly important as a means for exploring ideas; I am using a
combination of gestural mark making and layering techniques to create an enigmatic
painting surface which conceals and reveals simultaneously.
Statement July 2014 - first attempt
My work explores elements of narrative through glimpses and
fragments of stories. I am interested in referencing familiar imagery to
construct ambiguous encounters; collecting, manipulating, constructing and layering.
The making process and figures challenge the line between playfulness and
menace, intention and experience.
My practice is built on the idea of the artist as
storyteller. Through drawing with paint, lines and strands suggest figures,
spaces and encounters. The viewer is left to make sense of the stories; to fill
in the gaps and rearrange their understanding; to interpret and activate
characters within their environment. There is a sense of what was, and what
could be, rather than a fully formed version of a truth. A potential state
which suggests multiple futures; dangerous, exciting and undecided.
Through photography, I collect fragments to create hybrid,
overlapping and partial trace figures. Again, figures are caught at the point
where a childish game becomes more sinister; pinching, biting, twisting,
fighting. The bodies are unfinished, referencing metamorphosis and the
grotesque. They are vulnerable but powerful. The gestural use of loose colour
aims to suggest both energy, generated by movement or touch, and a means of
obliteration.
My most recent work continues a series exploring alternate
truths where I am investigating the relationship between aesthetics and
concept. I am particularly interested in parallels between making and ideas,
for example how colour can be used to manipulate the viewer’s perception and reading
of an image. These paintings introduce a sense of deconstruction and disorder.
Figures begin to merge and blend with each other and their environment,
challenging the boundaries of the body, receding and disappearing within the
picture plane. The imaginary painted space challenges perceptions of scale and
uses context to emphasise tension and displacement.
By working on multiple surfaces and in series, I intend to
play with chronology and manifestations of the book. Pages can be rearranged to
create different versions of the truth. The work raises questions and poses
multi-faceted scenarios where the viewer can make connections and draw their
own conclusions from what is presented. Every encounter with the work generates
an alternative dialogue where chance elements come together to build their own
narrative. The works are intended to be rearranged and displayed on an
invisible grid work, linked by trace. Figures appear and reappear in a
different setting or position to indicate a sense of time, giving context
through their relationship to other surfaces.
Feedback and reflection
Even though I had read my statement aloud several times, when I read it to the group it was clearly repetitive and quite long. I had based my writing on previous guidance given for statements (300-500 words) but think Jack's idea of the 5 tweet statement/sound bites/video clips would be far better. I also hadn't realised how inappropriate my writing of intentions for the viewer's experience was - this I think has become muddled with reflection and articulating intentions. The viewer doesn't need to be told how to experience the work. The statement shouldn't presume that they will encounter or respond in a particular way. I used the interim break to hack sections out of my statement to this effect. Result is below. Obviously needs refining and further editing but a swift and ruthless cut has improved it greatly in my opinion.
Things to remember...
- make it personal
- make it clear
- make references that are relevent and useful for the viewer
- don't tell the viewer want to think or how to experience the work
- don't be precious about favourite phrases
- shorter is better in this case
My practice is built on the idea of
the artist as storyteller. Through drawing with paint, lines and traces suggest
figures, spaces and encounters. There is a sense of what was, and what could
be, rather than a fully formed truth; a potential state suggesting multiple
futures. I collect fragments to create hybrid, overlapping and partial trace
figures. The bodies are unfinished, vulnerable but powerful.
I reference familiar imagery to
construct ambiguous encounters; collecting, manipulating, constructing and layering.
Through elements of narrative, the surface captures glimpses and fragments of
stories. The making process and figures challenge the line between playfulness
and menace, intention and experience.
My most recent work continues a
series exploring alternate truths where I am investigating the relationship
between aesthetics and concept; parallels between making and ideas. These
paintings introduce a sense of deconstruction and disorder. Figures begin to
merge and blend with each other and their environment, challenging the
boundaries of the body, receding and disappearing within the picture plane. The
gestural use of colour aims to suggest both energy, generated by movement or
touch, and a means of obliteration.
By working on multiple surfaces and
in series, I play with chronology and manifestations of the book. Every encounter
with the ‘pages’ generates an alternative dialogue where chance elements come
together to build their own narrative, creating different versions of truth
within the imaginary painted space.
