I make work filled with motifs and symbolism about my life and my experiences navigating the world as a woman. Heeled boots, arms, legs, spilled blood and mystery liquids litter my canvases, fragments of stories waiting to be connected by the audience. Although my work is based on my own life, fragments are taken from my journals and brought together into a painting. By presenting these on a flat black background my work is decontextualized and the audience is invited to piece together these fragments and project their own narratives onto the work.
Severed hands hint at feelings of disconnection from the world and a lack of bodily autonomy, long clumsy arms and legs hang and dangle, reaching for bottles or hanging purposelessly. Using imagery from horror films like blood and severed limbs, these day to day experiences get thrown into a world where anxieties and drunken mishaps result in a severed hand laying in a puddle of blood rather than a hangover and humiliating memories.
Making work inspired by my life experiences and day to day anxieties means working spontaneously and as soon as inspiration hits. Working with unstretched canvas and acrylic paint, pen on paper and air dry clay means that I can start working almost instantly without having to stretch canvases or wait for oil paints to dry. Working with a sense of immediacy means that my paintings, sculptures and drawings all have a sense of urgency about them. Misspelled words and crossings out are unimportant if I can convey my message or story.
Looking at artists like Polly Nor, her drawings depicting womanhood and the idea that we hide who we truly are when we aren’t alone, her devils and skinned bodies are horrific imagery that Nor uses to bring many day-to-day situations to life. My practice is inspired by Nor’s as I often feel as though my work is how I tell my secrets to the world, hidden between humour and imaginary narrative. By putting my work in another ‘world’ I am both baring all to the audience but also inviting them to create their own narratives. I am also inspired by the work of Louise Bonnet and how she uses distorted human bodies to link the physicality of the human body with emotions. Bonnet removes the heads from her figures to objectify them and view them as objects rather than people. This relates to my practice as I use human bodies as a way to discuss emotions within my work, my work contains a lot of arms and legs but never faces.
2017-2020: PAINTING BA, CAMBERWELL COLLEGE OF ARTS, UAL
2016-2017: ART FOUNDATION, SUSSEX COAST COLLEGE, HASTINGS
2009-2016: HEATHFIELD COMMUNITY COLLEGE
april 2020: i’m making this for the rat that lives under my oven, www.bigrat.studio
may 2020: hands in the digit(al) age, www.bigrat.studio
FEBRUARY 2020: ‘CLASS OF’ THIRD YEAR INTERIM SHOW, COPELAND GALLERY, PECKHAM
MAY 2019: ‘A WILD GOOSE NEVER LAID A TAME EGG’ GROUP SHOW, THE NEW CROSS HOUSE, NEW CROSS
JANUARY 2019: ‘MERGE’ SECOND YEAR INTERIM SHOW, DILSTON GROVE, CGP GALLERY
MAY 2018: FIRST YEAR PAINTING SHOW, CAMBERWELL COLLEGE OF ARTS
JUNE 2017: FOUNDATION ART SHOW, SUSSEX COAST COLLEGE HASTINGS
2015: ICKY! MAGAZINE