In my work, as in life, I question the presentation of a woman’s appearance, disappearance, whether deliberate or unintended, through her relationships with clothing, disguises, fabric wrappings and the environment. I question the impression that is formed by the way she presents herself and how she wishes to appear. My paintings and 3D collations speak about fabric, clothing and it’s meaning, and how we present ourselves to the world.
It revolves around a multi sensory core. From an early age I was involved in activities such as photography, music, performance, sewing and dance, as well as painting and drawing. Consequently, I like to incorporate elements of this into my work, by means of exposed, frayed and shredded canvas, attaching fabrics to the canvas in a sculptural way, and painted representations of fabric with a human form.
I use digital manipulation of my own photographs to generate the initial images at the start of a painting. I also use these photographs as reference for other themes – transparency, ageing, wear, and recycling.
I am interested in abstraction, as it gives freedom to the viewer to interpret the work, and using photographs and photo editing gives scope for this, as unexpected results can come from experimentation with editing programs.
Some of my strongest early life recollections and experiences include vivid memories of clothing and fabric, such as colour, form, texture, decoration, and even how certain items felt when worn. Details of my mother’s and grandmother’s clothes, my own clothes as a child and teenager, sewn or knitted by them, are deeply imprinted on me.
Materiality in it’s elemental form is central to my thread, hence a lot of my paintings are not on stretchers, so that the edges, the reverse and surface textures of the canvases are all on full display.