2016
Cityscapes, Greeks and Romans and Worlds in Miniature
Cityscapes
The Edit, 2016.
Shortlisted for SkyArts Landscape Artist of the Year |
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A Falling Sky 2016
Ink, Pure Pigment, Coffee on Paper Board, 84.1 cm x 59.4 cm ( 2017 Royal Institute of Painters in Water Colours 205th Exhibition) |
Entropy, 2016.
Pen and Ink, Gouache, Coffee on Paper Board. 84.1cm x 59.4cm
Pen and Ink, Gouache, Coffee on Paper Board. 84.1cm x 59.4cm
These works are intended to function as maps of London that correspond to a subjective, rather than objective, understanding of the relative locations of personal landmarks. They place London within historical context, and in relation to the ideological revolutions that have marked the city.
Many of these paintings record a legacy that will soon be lost to the ages. A short walk around the east end of London will show a plethora of late 18th and early 19th century buildings and walls unlikely to make it past the next decade. As these buildings are destroyed, their bones are revealed for the first time since their original architects constructed them. They offer a privileged glimpse into very specific points in history—the exact date a brick was put down, for instance, or beam structures that were subsequently lost during later renovations. The compositions explore and preserve moments of changing visible history, while creating a link with the non-visible influences of past generations.
Many of these paintings record a legacy that will soon be lost to the ages. A short walk around the east end of London will show a plethora of late 18th and early 19th century buildings and walls unlikely to make it past the next decade. As these buildings are destroyed, their bones are revealed for the first time since their original architects constructed them. They offer a privileged glimpse into very specific points in history—the exact date a brick was put down, for instance, or beam structures that were subsequently lost during later renovations. The compositions explore and preserve moments of changing visible history, while creating a link with the non-visible influences of past generations.
Greeks and Romans
Studies
These paintings explore the myths of the Greeks and Romans, and reinterpret them with modern influences. I am fascinated by the wealth of narratives held by past civilisations, and how these stories influence us in the present day. There is an element of chaos both within the stories in Greek and Roman mythology and their dissemination and reconfiguration as they were adopted by different cultures. These paintings explore the transition of Minoan, Greek and ultimately Roman mythology in particular.
Worlds in Miniature
These works play with the idea of value and functionality in art, and were inspired by 16th and 17th century miniatures. In these paintings, which fold and open like little books, I wanted to ask the question of whether art needs to be evaluated publicly for value, and whether it could still be immersive outside of the public eye. Art today lives almost exclusively on walls or in galleries and is designed to be shared communally. In this context, the era of miniatures seems alien. It goes against the ideals we have of art as a socially unifying force. This accessibility is mirrored in the permanency of our placement of art on walls or in galleries.
The frequently bejewelled detailed miniatures of the 16th and 17th century were designed for the very wealthy, and were not meant to be seen by the public eye. They represent an elitism that we would like to think is absent from the altruistic service many academics implicitly attribute to art today. Because these historic miniatures fall outside of this narrative, they are usually displayed as artifacts, not art, and in historical museums. Paradoxically, these items, once designed solely for single owners, are now more accessible than many works in galleries or private collections.
These works were made with eggshells and glitter from a small batch German manufacturer. If we were to transport glitter back in time, I would guess that it would be seen as valuable as gold. It is shiny, eye catching, and has all the qualities that things of implicit value usually have. Rarity is the one thing that’s lacking to give it value. There are trillions of pieces of glitter in the world. I like to imagine the way our ancestors would react to these pieces, and try to capture a feeling preciousness by using delicate eggshells, and presenting them in jewellery boxes like little treasures.