My paintings consider preconceptions of feminine art in an erotic and sensual manner using the properties that paint holds to demonstrate my yearning to visualise emotion in an abstract and intuitive manner. Each piece is an outward vision of my psychological well-being, a cosmos of integrated cells, connotations of misdemeanours that infuse to create a landscape of expressionistic colour, line an
d gesture. Concentrating on exploring the limitations of paint, inks and dyes has made me produce my most interesting pieces. Properties of each individual medium and the manner that they can be manipulated, stretched and handled has been the starting point for all experimentation. New technical skills throughout these processes have highlighted aspects that can be employed when using newly sourced displacement techniques. Touching, connecting and responding to the paint is pivotal to my practice and retaining knowledge on specific paints and their capabilities I have been able to disrupt them to breaking point. Concentrating on delicacies within change, fluidity, viscosity and gloss I am able to concentrate on the abstraction that paint creates within its own boundaries . I have established a calmer more concise way to think, controlling my impulses and managing my sexual and aggressive energy. Through this defense mechanism my contemplations on the normal conventions of the human form have been stimulated. The desire to show my beauty, strength and vigor in an abstract manner results in a hybrid of connotations and connections informed by, and made from, the semiotic culture I live in. This culture, of substructures linguistic and pictorial that surround us implicate and create rules, morals and standards that influence our opinions, moreover subconsciously ‘help’ us to inform our needs and wants, which gage where and how we fit in. Ideas on how I challenge the discourse of my subconscious fragility have been considered and from this images have evolved that place me within the sanctuary of contemporary art. Unconscious expression is fluid and with this ambiguity comes freedom, revolting against the regulations, laws and order that have been put in place within our society. Art lends itself for the viewer to be transported out of this and this relationship can have monumental effects. The voyeuristic perception of the viewer is important and this is where I feel strongly about all relationships participating, how all at once the subject can be subjective and subjected at the same time. This is crucial in my use of black reflective paint, the viewer is at some point part of the image/art, so to everyone the paintings will appear the same but uniquely different. With one’s own image manipulating the painting; the refraction has to some degree space for fluidity, change and above all the capabilities to capture the viewer in their most private moment. Painting on a diverse size of canvas’ I am visually documenting my history and the connotations attached that affect everyone in some way. I want space for the viewer to reflect; and the atmosphere to be that of what the viewer needs, only then will I be sufficiently happy with my work.
