By pouring and manipulating paint on tilting structures, a dialogue between art and science is created as the paint ebbs and flows in a single linear stroke under the force of gravity. Through this method of painting, the artist is removed from the gesture and emotion of painting, highlighting instead the complexity of colour and the intricacies in the materials.
5x5, 2016 (SOLD)
Household paint on canvas
210cm x 70cm x 4cm
By pouring and manipulating paint on tilting structures, a dialogue between art and science is created as the paint ebbs and flows in a single linear stroke under the force of gravity. Through this method of painting, the artist is removed from the gesture and emotion of painting, highlighting instead the complexity of colour and the intricacies in the materials.
By pouring and manipulating paint on tilting structures, a dialogue between art and science is created as the paint ebbs and flows in a single linear stroke under the force of gravity. Through this method of painting, the artist is removed from the gesture and emotion of painting, highlighting instead the complexity of colour and the intricacies in the materials.
Canvases are hung on sculptural wooden frames, the paint poured and tilted at angles onto further canvases to create pairings - one that is carefully considered by the artist as it tilts, the other, static on the floor, waits to collect the waste materials.
These unconventional painting tools allow gravity to paint sequences of canvases, challenging the idea of authorship. The final work bares no evidence of the gesture and emotion of the artist’s hand, instead the intricacies of the materials and the complexity of colour are revealed.
By gaining an in-depth understanding of the chemical properties of paint, the rules of this material have been subverted to create paintings that are a collaboration between the artist’s desires and the unpredictable tendencies of her materials.
Rather than artificially aiming for permanence through painting, the fragile and impermanent nature of life is highlighted as the work has the ability to adapt and transform over time.
Chaos and order sit side by side as elements of chance are employed through carefully considered mathematical systems and unconventional painting tools. In these works lampshades are used as painting tools for the production of work or used paint is collected from vertical pour paintings above, dripping onto horizontal canvases below. Through this method of painting, the artist is removed from the gesture and emotion of painting, highlighting instead the complexity of colour and the intricacies in the materials.
In this body of work the historical constructs of painting - colour, composition and form - are explored through performance. Paint is poured during live events, allowing the viewer to experience the act and rituals of painting.
“I think of painting as an event. One where I am concerned as much with the process of making as I am with the final outcome. ”
A five day site-specific installation and painting performance in the Cookhouse Gallery, London.
A five day site-specific installation and painting performance in the Cookhouse Gallery, London.
A five day site-specific installation and painting performance in the Cookhouse Gallery, London.
In this body of work the historical constructs of painting - colour, composition and form - are explored in three-dimensions. Often a site-specific response, architecture, interior design and geometry are used as props to explore colour. Unlike on the flat plane of a canvas, layers of colour are explored from multiple viewpoints, fragmenting and reforming as the viewer and environment shift position.
A selection of playful, sculptural works that bridge the gap between the functional and dysfunctional, adding an artistic edge to interior spaces. A key theme within the work is the relationship between colour and form.
