The immediate focus of my work is the interplay between abstract and representational form. I am interested in envisioning urban, post industrial buildings as surfaces in a state of decay. This began with my interest in British landscape painting and the genre’s tendency to use elevated vantage points; creating distorted images.
Separately, the pieces express individual elements of concrete surfaces, but when displayed as a triptych they make new connections relating to abstract form. I perceive my practice as sitting within the tradition of landscape painting, but with a focus on the minute, rather than the panoramic.
I am informed by artists such as Rachel Whiteread, Filip Dujardin and Victor Pasmore. Presently I am interested in the ideas of Simulation and Simulacra put forward by Jean Baudrillard and how this can be applied to painting; my art work possesses a set of self-referencing forms which are personal to me and linked to my memory of a landscape.
Mae ffocws uniongyrchol fy ngwaith ar y cydadwaith rhwng yr haniaethol a ffurfiau cynrychioladol. Mae gen i ddiddordeb mewn darlunio adeiladau trefol, ôl—ddiwydiannol fel arwynebau sy’n dadfeilio. Dechreuodd hyn gyda fy niddordeb mewn peintio tirlun Prydain a thuedd y genre i ddefnyddio llecynnau manteisiol uchel; gan greu delweddau gwyrgam.
Ar eu pen eu hunain, mae’r darnau yn mynegi elfennau arwynebau concrit, ond pan fyddan nhw’n cael eu harddangos fel triptych maen nhw’n gwneud cysylltiadau haniaethol o ran ffurf. Dwi’n ystyried bod fy ymarfer o fewn traddodiad paentio tirlun, ond gyda’r ffocws ar fanylion yn hytrach nag ar y panoramig.
Mae artistiaid megis Rachel Whiteread, Filip Dujardin a Victor Pasmore wedi dylanwadu ar fy ngwaith. Mae gen i ddiddordeb yn syniadaeth Efelychu a Simulacra a gyflwynir gan Jean Baudrillard a sut gellir cymhwyso hyn i baentio; mae fy ngwaith celf yn cynnwys ffurfiau sy’n bersonol i mi ac maen nhw’n gysylltiedig â fy atgof o dirlun.
