Bio

Within my current art practice, I am immersed in attempting to capture fleeting moments perceived within a specific space and duration of time. These short-lived and passing moments are often beautiful moments of time that quickly vanish and are almost impossible to capture. Through a process of drawing and painting where colour, touch, atmosphere, subtle movement and sensitivity to how materials are used is highly important. My art practice allows me to experiment with expressing and recording the emotional temperature in a specific environment through the depiction and re-creation of images from my memory.

I take great joy in researching approaches from European Impressionist painting from around the turn of the nineteenth century with more contemporary painting where ideas surrounding atmosphere and memory allow the viewer to immerse themselves in the painting and not as a representation of a particular landscape. The gradually built up and complex surface invites the viewer to travel between these precious and easily overlooked moments of time in the painting. On the other hand, it is to achieve a sense of nature and people shining and looking at each other through the repeated narration of certain specific elements in the landscape.

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I am immersed in attempting to capture fleeting moments perceived within a specific space and duration of time. In these particular times and spaces, I am able to be part of the landscape. The light penetrates these spaces, marking these moments in a perceptible way. Am I noticing the light, or am I always being gazed at by it?

Watercolour and white acrylic paint are used to portray these colours, sensations and atmospheres. Watercolour is the transparent air, the smell of grass, the temperature; white acrylic is the pulsating light, the pounding wind, the falling raindrops.

"Painting is another word of feeling." 

"Everything reflects itself in it, resumes itself in it, dissolves itself in it. "

 

Watercolour, White acrylic on paper
594 x 420 mm *20

Exhibition programme 1

The positions of the paintings are according to the perspectives of the content, creating a landscape line./ 10 pages taped on a 3*5m wall/ Wall can be illuminated by natural light.

The ever-present light seems to play hide-and-seek in these paintings, and the surrounding atmosphere immerses the viewer in it. The gradually built up and complex surface invites the viewer to travel between these precious and easily overlooked moments of time in the paintings.

"Pessoa captures the nostalgia associated with liner time. The white light of what is turns out to be composed of a spectrum of temporalities, in which what might have been and what might be continually converge."

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Exhibition programme 2

Hanging them in groups according to landscape and content helps the viewer to enter a specific emotional space. The name of each painting will be marked on the bottom. The interaction of pictures and texts makes materially visible the structure of representation as a trace of temporality and exchange.

Different corners have different views./ Top view / The pink areas are the windows.

The materials of the work also displayed a disposition to join up in new, mutually transforming ways. In the exhibition-goer's back-and-forth between their different positions, these related but heterogeneous part-objects encouraged a discourse in the term, leading to a third apprehension.

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