Through my figurative oil painting’s, I aim to create an emotive, silent but yet charged atmosphere to absorb the viewer within.
I have a draw to humanity, recreating the human form has always been my fixation, but the layers beneath are where my interests lie.
The unknown character of the unconscious mind intrigues me. Our conscious level, all that we think we know, is just the tip of the iceberg – the mass below holds such weight, yet due to its blurred quality, there is no clear entrance or exit.
I question where we go when we dip beneath our conscious level – how it can feel, and how this can be displayed and shared to the viewer. Having usually looked to the bookshelf to answer my curiosity, I have instead turned inwards.
Feeding from my own experiences of falling into this unknown space on the flip-side of my mind, I sourced these senses, and fed them into the paint, painting myself within the disconnected paintings.
I paint my figures with a particular mix of Prussian Blue and Burnt Sienna, with which I formed an instant emotional connection to. This tone is soft and quiet in lighter tones, but can hold such density in darker tones – creating a constant contrary of emotions present on the board.
The light symbolises the conscious mind, and the unconscious is found in darkness. The falling figure, for example, falls into the deepest tone of her shadow, landing in the soft darkness of the awaiting backwards chair. The darkness envelopes, time stills, yet the conscious outside keep on moving.
By bringing the moving, the unknowing viewer, into the still, pitch black room of dimly lit paintings; I hope to build an atmosphere that allows for a pause, a realisation of a switch in mood from the outside to within. Taking the viewer on a journey of sensations from extreme light to touch, I am with them as they are with me – observing, not from the outside, but from within the space I reside.
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