My Practice
My practice and my work are interconnected, without one element the other would not exist. The photography leads to drawings, paintings and the imprints are as a direct result of the photography; none of which would exist without the miniature.
My paintings are created on found bed linen. There are subtle traces of the sheet’s past life in the paintings. Some you may notice and others you may not; stains, hems, puckering of the fabric are all elements I retained in order to maintain the connection between the past and the present. Scale is very important in my paintings; I am portraying a miniature object as if it is the life size functional object it represents.
When creating an image in this way you end up with a very representational image, but once the linen is peeled off the board, an imprint is created which has a hazy, incomplete, faint affect. The act of peeling the painting away from the imprint is reminiscent of the act of striping wallpaper from a wall. Revealing the unknown, taking a look into the past. “Time, like mind, is not knowable as such. We know time only indirectly by what happens in it by observing change and permanence, by making the succession of events among stable settings, and by noting the contrast of varying rates of chance” The Shape of Time. This is why my imprints are more articulate than my paintings themselves. The imprints have sense of time, a trace of what was there before, and the decay that happens over time.
