My work records the glimmers of everyday life, documenting the mundane moments we all experience that are often overlooked. Through the process of encapsulating these moments, an almost autobiography of my immediate surroundings is formed, reflecting the transient period in which I find myself in as a 21-year-old woman. The passages captured within my work are mostly centred around the domestic, with the subjects frequently caught mid gesture, performing everyday activities.
Alongside these figures, I attempt to include a strong sense of interior, using sharp horizontal, vertical, and diagonal lines to divide the composition and create a sense of space. In recent works, I have begun to experiment with the interplay of human presence versus human absence in these spaces, using an array of angles, viewpoints, and perspectives to highlight this contrast. Working in series allows for the juxtaposition of these images against one another, creating dynamic relationships between them.
Visually, I am attempting to find a balance between the graphic and the painterly, juxtaposing solid blocks of bold colour against detailed areas of focus. The use of a limited colour palette with subtle variations in tone, allows me to suggest the varying surfaces and planes within these spaces.
(All works are available to purchase. Please email or message me directly for more information.)
Due to lockdown, the bulk of my reference imagery came from the Edinburgh-based flat I share with two other art students. This limitation was an interesting challenge, forcing me to constantly evolve my work both conceptually and visually. As a result, the 'Glen Street' series was born- a collection of works showcasing a mixture of angles, viewpoints and perspectives from just one flat.
The works began as Promarker pen drawings and later translated into oil on wooden panel paintings.
The works featured within the 'Wallpaper of Life' series were inspired by the beautiful woodblock prints of Félix Vallotton. I endeavoured to replicate the simplistic nature of his prints by limiting myself to just black Indian Ink and the white of the paper.
The long and thin dimensions of the series were inspired by vintage film poster inserts, a common form of film advertising from the 1910s. The posters offered a snippet of what the film contained but left most up to the imagination of the viewer. I wanted my works to do the same and felt the irregular dimensions offered a glimpse of everyday moments without telling or showing the entire story.