As an Artist
‘Artists are driven to do what they do no matter what. It’s a very powerful ambition and they pursue it in whatever way works best for them… in my experience, artists are among the most self-motivated, organised, the most disciplined, and the hardest working people I know… it’s the seriousness of purpose that I admire the most’. – Carter E. Foster
Being an artist and a writer is a labour of love, and it feeds my soul.
As A Maker
Primarily focusing on painterly and filmic language, my work explores the sensualisation and decontextualisation of gender ambiguous forms, with the intention of creating work that signifies “not the ‘what’, as house tree and others do, but the ‘that’, the way in which it is.”
Heavily influenced by Martin Heidegger’s existential theory, key for me is translating an understanding of our ‘Being’ as humans, creating work that questions how we are, as much as what we are. In his theory of Being and Time, Heidegger suggests that ‘all consciousness has intention’. Being is understood as an idea where things are not approached ‘as being’ but ‘being itself’ is considered. Essentially, it is a concept that encourages the questioning of what it means to be.
With conscious intention in mind, I am drawn to exposing the materiality of media, in order to translate an experience of paint or film that encourages the viewer to consider how the work is, as much as what is is; essentially to understand it’s being.
Through painting and photographic processes, I explore the relationship between the language of painting and photography. I am interested in translating an experience of material, as well as an exploration of filmic and painterly language. What starts as an image of a female body or head, becomes an investigation of the distinction between the experiences of an isolated image and one in context. Working with layering, cropping and repetition to create cyclicality, I am interested in encouraging the translation of a bodily experience.
I explore specifically cyclical and reflexive processes that reflect experiences of the body. Materials are made fleshy and visceral through the use of fragmentation and impasto paint, and the paintings are photocopied and re-worked, to extend the material’s possibilities. The work becomes a representation of a dynamic and mixed relationship between painterly and filmic processes, where the material qualities of paint are extended, and cyclical, transformative and repetitive developments are created. Synthesised in filmic processes and cinematic experiences, layering and close cropping create distorted images that suggest sensualisation and fettishization, translating an experience of film as an artistic material that sits within a bodily context.
I once wrote that I am ‘trying to translate an experience of art-making that is pure, without the interruption of narrative and pre-conceived ideas’ describing my process as ‘an attempt to get at purity of response that is separate from the mess of human sogginess’. By exposing the material qualities of my media, through the deliberate stripping back of a form’s context, the ‘how’ of the work is encouraged, whilst the ‘what’ – the narrative, the familiar or the essence – is not important. I am looking to expose the being of the work as a phenomenon in the true sense.
As A Writer
For me, writing is an extension of the creative visual process. I write to reflect and evaluate, and I also write creatively. I don’t write to be territorial, I write to create space. For me, there is an inescapable overlap between written and visual language; both interact with the other but can stand as independent works.
It is important that I write about what I love, and not about what I am supposed to love but in my heart of hearts, do not really love. For me, writing is about sharing my love for art in a way that is accessible. Describing one language with another is difficult, and I don’t always get it right, but it is a process that is just as important as any other part of my artistic practice.