What kind of work do you make?
My practise is focused on portraiture, I find humans very interesting, and feel through portraiture you can communicate a lot about people. In my practise I try to make-work where I reflect the idiosyncrasies of the sitter in a subtle but effective manner. This exhibition has been a development of my exploration into the youth culture, the cult image and our society’s obsession with the like. My work is a reflection on the screen and what it means to me personally and to those around me. My work has become centralised around portraiture this year, and I think I have been able to develop and improve my practise through this.
Why are you part of the Finding Both Your Hands exhibition?
For me, this exhibition is about realising that in my practise both hands are necessary to manifest my ideas. My technology based hand, realised through photography and manifested in this exhibition through the representation of the screen, reflected through the use of Perspex and mirrors in my work. Further, my artistic and more free hand, shown through painting. In this exhibition I have realised that finding both hands is crucial to my practise and my developed ideas.
What does finding both your hands mean to you/ have you found both your hands?
I think this exhibition has given me the breadth to know how to find both my hands. I know that my paintings are realised through experimenting with photography and finding my way in that composition. On a fundamental level, at the preliminary painting stage Photography helps me realise composition, lighting and setting quickly and effectively, and develops my practise a lot more quickly and successfully.
What inspires your practice?
Painters, people and photography continue to inspire my practise. Working with the inspiration of different painters helps my practise grow and diversify. People are the central inspiration for most of my work, and I think the more I paint people the closer I come to finding both my hands in art. For me, photography involves me finding my digital hand and is definitely part of what helps me realise my compositional images, giving me the scope to experiment with just the click of a finger.
Why have you decided to show the piece you have at the exhibition?
All of my pieces developed from the exploration of youth culture and the cult image. This evolved into looking at social media profiles and our society’s obsession of the like and branding. This is reflected through the titles of my work and the use of the screen.
I also feel they work best in relation to the other works in the exhibition and reflect me finding both my hands most effectively, but in diverse manners.
What would you do differently next time?
I loved how our exhibition was broad; it gave all the artists room to breath and find their own voice without being constricted to suffocating themes and ideas. I really enjoyed working freely to follow what I was interested in, in my own way and without constraint. However, I feel that maybe it would be also be exciting to constrict my practise to see what I would produce under serious limitations. Confines can be a good thing, and I would perhaps like to try this strategy if we did it again.