Mainly working with the possibilities that assemblage give, may practice is not tied to a particular medium or style. Taking found objects, usually at the end of their life and re-appropriating their narratives to form new ones, there is an unavoidably autobiographical meaning to be extracted from my objects. There used to be a point where I anchored my work to painting and although there is an undeniable link to that medium, this is no longer a primary concern of mine. Allowing my objects to exist as they are, somewhere in between painting and sculpture, frees my work and opens possibilities for me to create assemblages from materials with which I personally connect.
The dis-guarded objects that i use convey an inherent sadness and a sense of anticipation. It is precisely that feeling what I cling to, for it connects with me through my own life experiences. Those objects are then paired with acrylic paint, which I obsessively rework into a self made material (normally monochrome). There is something ridiculously excessive in my fixation with acrylic paint which can verge on addiction when reworking it again and again. Through draping, sculpting, casting or pleating I react to the tensions inherent to the materials which mirror the foldings of my own personal traumas.
More recently my works have deployed pink, a colour I hadn't used before. It was only days after my fathers passing away that I started painting exclusively in that colour. Although owning and using this colour has been liberating for its apparent links to my own sexuality, I am interested, from an allegorical point of view, in specific hues such as soft baby pink which I see, now, as non threatening and come across as a natural choice for me when trying to express through the tension of the materials my own beliefs and insecurities. When manipulating the form, I consider, colour, balance, composition or finishes i.e. matt or glossy, making it possible to direct it toward suggestions of the body, skin, entrapment, escape, fetish, intercourse, illness and mortality, all of which have A potential to be present in any given work.
Recent examples are The Small Things (2017) and then Holding On (2018), both of which are part of a growing body of work. Pink acrylic paint as a visual counterpoint to the low utilitarian quality of wooden crates among other found objects that I also include in my work, bring about a personality that transforms them into proxies of me. Working in this intuitive way with found objects and materials and deciding that their assemblage is just right is a key part of my creative process for me any change can drastically alter the meaning. In falling (2017), the work become even more anthropomorphic with an apparently light hearted approach that fails to comedically conceal darker idea of love, life and belonging.
Lives and works in London.
Current Work 2018 -2019 Assisting CBE RA - Phyllida Barlow
2014-2017 Masters of the Arts, University of the Arts - Central Saint Martin’s (Distinction)
2016 Artist Internship with The Chapman Brothers
2011-2014 Bachelor of the Arts, London Metropolitan University (Distinction)
2011-2009 Diploma in Fine Art, City Lit (Distinction)
2019 - About Painting, No 20 Arts. London
2019 - White Conduit Projects, The Size of Thoughts. London
2019 –MLF Marie-Laure Fleisch, Art Geneva. Switzerland
2018 - Five Years, Two Cakes. London
2018 - Peer Gallery, Bound. London
2018 – MLF Marie-Laure Fleisch, Art Brussels. Avenue du Port 86C, 1000 Brussels, Bélgica
2018 - Cob Gallery, Form. 205 Royal College Street NW1 0SG
2018 – Observatorium, Club Conscious. Samberstraat 40, 2060 Antwerp
2018 – MLF Marie-Laure Fleisch, In Favour of Three Dimensions. 13 rue Saint-Georges | Sint-Jorisstraat1050 Brussels
2017 –Degree Show Central Saint Martins, Show 1. London, United Kingdom
2015 – Complex Topography: The Garden, Global Art Project. Takamatsu, Japan
2015 –La Cambre, Print! Galerie 425, Brussels, Belgium
2015 – Angus Hughes Gallery, Summer Show. London, United Kingdom
2015 –Laundry, You’re the reason our kids are ugly. London, United Kingdom.
2015 - Charity Exhibition and Auction, Jezebel. London, United Kingdom
2015 - The Catlin Guide 2015, New Artist in the UK. Business Design Centre, London, United Kingdom
2014 - Affordable Art Fair, Recent Graduates. Battersea, London, United Kingdom
2014 –Degree Show, Cass 2014 London Metropolitan University United Kingdom
2014 - Charity Exhibition and Auction, 10x 10. The Shard, London, United Kingdom
2014 - The Threadneedle Prize, Figurative art today. Mall Galleries, London, United Kingdom
2013 - Charity Auction and Exhibition, Platform Six. The Barge house, Oxo Tower, London United Kingdom
2013 –Dalston Lane, Mollify, London, United Kingdom
2012 –Apricot Gallery, Who do you think you are? London, United Kingdom
Projects & Residency’s
2017-2018 – Helen Scot Lidgett Acme Project
2017 – Koppel Project Hive, London, United Kingdom
2017 – Nick Knight Video shoot for Tino Kamal at Show Studios, London, United Kingdom
2015 - Global Art Project. Takamatsu, Japan
2013 - Platform Six London Sponsored by Adidas
2013 – Nick Knight Video shoot for Kanye West at Pinewood Studios, London, United Kingdom
2016 – Night Flowers (Damen Frost)
2015 – Complex Typography, The Garden (Book)
2015 – The Catlin Guide 2015 (Book)
2013 – Platform Six (Magazine)
2015 - 10x 10 Charity Auction
2017/18 - Helen Scott Lidgett/ Acme Award
2015 Japan Residency
2014/17 - Vice Chancellor Scholarship (Central Saint Martins)
2017 – Koppel Project Hive Residency, London, United Kingdom