Bessie Schofield
Bessie's work exists in a dichotomy of the politically playful. Silly and contemplative; humorous and introspective; it is an entertaining and absurd commentary on the polarised political landscape we live in.
Illustrative characters appear simultaneously guileless and corrupt, placed within garish scenes of undreamt possibilities. Narratives come alive, asking the audience to step into the mischievous scenes which are anchored by a haunting sense of social disorder. An absurd and nightmarish sense of confusion pervades these scenes, which neither the audience nor Bessie should totally understand.
Political and social commentary seeps into the entire body of her work. Amidst activism and working for a queer sexual health charity, Bessie's world is never silent. Continuously educating herself and engaging with others, shapes her character and forms the roots for her practice.
Fearless trial and error feeds her palpable spontaneity. Painting techniques are used within printmaking, oil is mixed with acrylic and she would never dare prime a canvas. Utter waste of time. When confident with materials, two-dimensional scale, perspective and the definition of a painting are all transcended.
The aesthetics and incongruity at the heart of camp culture embellish the images with eroticism, ironic compositions and theatrical expressions. Banal objects offer a place to rest within this disorientation. They become an anchor to straddle between a sour innocence and a glutinous transgression.
Ultimately, Bessie's work is an incongruous emotion – humorously poignant. It is an invite into an absurd narrative entrenched in our current climate. Inciting laughter, repulse or unsettle, Bessie is unbothered. It’s a sharp form of mockery which leads the onlooker into a realm of reflection and introspection on modern day society.