My practice is an exploration and understanding of natural forms, and the dexterity of paint itself. It fuses a range of influences from organic and anatomical subjects, in order to create something visceral and rooted in abstraction, as well as a tribute to the versatility of paint as a medium.
A passion for traditional landscape and the debate of ‘beauty’ in art led to an exploration of philosophical theories around the subject, in particular of the Kantian philosophy ‘Critique of Judgement’. My paintings are a challenge to the notion of beauty, given that the subjects for my work are anatomical, predominantly of carcass or offal. By portraying them in structured layers of thinly applied paint, the works have depth, subtlety and vulnerability, but more importantly, an image which could be seen as beautiful.
The triptych depicts both singularly forms themselves, but also replicate that of the heart and lungs, two anatomical structures I have been studying at length. I used the paint ruminatively, making the works feel like an excavation into the body in a veiling and unveiling process. Nailing my pieces to the wall creates a tension between the structural rigidity and force the nails exude, and the fragility and softness of the internal form.