My work originates from studies of the figure within space. Through observing the relationship between the reality of now and the surreal nature of abstract pieces, I investigate the experience of transporting individuals through dreamlike and altered perceptions.
Originally inspired by the absence or the disengagement of unsuspecting subjects within photography, my focus lead to using the outline of these figures to produce portals into new domains. This will enable the viewer to observe a distorted perspective. Informed by the disjointed portraits of Julie Cockburn and the simplistic figures of Julian Opie and Anthony Gormley, I invite the viewer to reflect on the nature of the static forms in relation to their environment.
Abstract patterns fill each outline of the body, creating images that give the observer a simplified approach of the familiar form in which to contemplate themselves. These figurines are spread about the exhibition area, casually observing points within the room as if they themselves are the ones scrutinizing the viewers of the installation. When choosing each piece’s stature, interactivity within the figures both as a whole and individually is questioned. The forms are designed to encourage public interaction with both the materials that compose the sculptures and their presence within the environment. They both mirror yet distort reality. The association between control and chaos is instrumental as the figures collectively present viewpoints unrestrained to the confines of a 2D image, materializing as abstract statues that visually merge from their singular forms and incorporate their surroundings.
I alternate two very different techniques; creating each figure through either painting or laser cutting Perspex. Together, the variety of life sized works interlink light, reflection, transparency and the mark making of colour with the visually unpredictable contribution of each observer.
My paint compositions mix varying amounts of acrylic paint by horizontally spreading the medium across a transparent ‘canvas’, much like the techniques used within Gerhard Richter’s work. Although this can be likened to the conventional process of screen printing, my paint layers are only controlled to an extent, as they use a variety of tools and pressure of application. This produces fading impressions which vary when viewed from multiple angles, casting fragmented shadows and reflections amongst surrounding forms within the space.
My reflective works are informed by both Leandro Erlich’s and Michelangelo Pistoletto’s use of the mirror. This is fundamental in distorting the everyday perceived image, bringing the surreal to life as the forms capture the surrounding space and its occupant’s visual identity. Although the cracked mirror once again reflects an uncontrolled distortion of perception, it is ironically produced through the precise method of laser cutting, contrasting both meticulous technique and unpredictable outcomes throughout the installation.
The differing technical process and diverse interpretations derived from each piece and as an installation, maintain the tension between both the abstract and figurative. This keeps the outlook of my practice open to individual analysis.