I manipulate the human body to convey the modern world that I live in. I use the figure and portraiture to describe the fragility of human life. My practice responds to an individual’s personal experience of a traumatic disturbance; the future is unknown and at any minute something could turn our lives upside down. What we see as beautiful today might not be tomorrow.
The vulnerability of human nature is explored in my practice. Often when we panic we can forget the order of events that have affected us. The fast-paced actions of the chalk line in my work symbolize a broken memory one might have subsequent to a traumatic event. On the other hand, the drawn lines in bright colours are reminiscent of tracing and childhood play.
The works deal with the uncertainty of human life; this idea is represented in leaving some parts of the canvas blank. The use of raw canvas within the portrait leaves a sense of obscurity, allowing the audience to question the situation of the sitter, which further highlights our ambiguous futures.
Colour plays a large role within my work. One reads colour physically; it effects our moods as we experience it. The bright and often blocked colours further represent uncertainty within the work. The audience interprets the work individually; the power of colour can turn something that is potentially morbid into something beautiful.
The idea of only painting the young further stresses our unfamiliar futures. The characters that are not myself in my work are all men. This gives me a sense of empowerment as I question my role as a female painter. By painting close family and friends I am able to understand my fears, this is the power of my practice. It is an attempt to right the wrongs of my experiences, as I perceive them.