Autumn Assessment 2017, Studio

Artist Statement

My work explores themes of nature vs human through the process and of abstract painting technique. I am interested in the fragile relationship between humans and nature, and how such different components can exist on this world simultaneously. The occurrence of natural disasters is evidence that nature is superior to human-kind. The power of nature is comparatively beautiful yet frightening, gaining respect from those who inhabit it. This related my research to Edmund Burke’s theories explored in his book, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. I also researched the concepts studied by artists such as Myeongbeom Kim, who combines aspects of nature and man-made, and Kate Macdowell, who blurs the difference between man and nature through states of destruction.

Aiming to portray ideas that the sublime helps us to feel part of humanity, I thought carefully about my selection of colour. My initial experiments comprised of complimenting and aesthetically pleasing colours. In comparison to this, my final painting uses unappealing, dull and muddy colours that step away from the beautiful and in to the sublime. This representation of the sublime links to our desire as humans to feel an emotional connection to the world, as well as the portrayal of nature and its sublime qualities.

My decision to use a paint pouring technique to create my abstract piece, consists of the careful mix of PVA glue, water and silicon spray. Looking at Jackson Pollock’s abstract expressionism paintings, encouraged me to use the medium alone in order to explore its fluid potential. My technique involved the use of my body to lift and tilt the large board at different angles, encouraging the paint to flow and spread over the surface. Alike Pollock, I allowed for mistakes and accidents to happen. This decision portrays how nature is uncontrollable. The paint pour created earthy, bodily colours that combined and mixed to form a marbled effect with detail only revealed once the painting is closely studied. This method aims to represent the relationship and co-existence of humans and nature through colour and consistency, for its beauty and delicacy.

In order to enhance the depiction and emotions of the sublime, I would recreate this paint pour on a larger surface. This technique would need the involvement of assistants to help tilt a larger board. I am interested in how focusing on the creation of the painting in relation to Pollock’s video performance, (of the creation of this paintings) would evolve my concept into human vs nature further.




Themes to explore through abstract painting and printed/found imagery:

  • Gender-lessness
  • Subverting woman as landscape
  • Gender capitalism
  • Feminism/subverting woman represented as beautiful (sublime)
  • subverting the male gaze through thoughtful representation

From last years work exploring subverting the male gaze through destroying the woman as landscape stereotype I want to research deeper into gender representation in traditional art and todays society. I will continue to use printed/found imagery to enhance the realistic effect and combine this with abstract painting techniques. I want to avoid creating something beautiful, and instead challenge the viewers perception of the person being viewed/gazed at and how they should feel towards it.


Theory research:


Studio, Week 6

Photography Workshop

Important settings: focus, white balance, exposure, shutter speed & appature.

ISO (average 400)

set at 50mil to avoid warped edges.

measure from floor to top of painting & then floor to middle of painting to find the height to set the lighting and camera at.

To focus camera you can use paper with writing on to adjust the focus. To set white balance you can take pic of white piece of paper and tell the camera under the white balance setting (use this photo as my white balance.)

Taking photographs of sculptures:

One side bright light in contrast to opposing side filtered light. This reveals definition on one side while avoiding the creation of dark shadows on other side of sculpture forming. Play with the lighting in order to make both sides shadowing similar – intensity, (use finger to create shadow at centre of image focus.)


Artist Influences, Studio

Claude Cahun

‘I extend my arms,’ 1930 (photography)

an illusion of the body fused with the natural form is created through hiding part of the body behind the form but revealing the arms seemingly from the hole in the stone. I am particularly interested in the fact that ‘the monolith has an inevitably phallic form, the arms with their ornamentation are feminine, defying a single-gendered reading of the image.’P79319_10.jpg

Cahuns self portrait questions notions of gender (gender-less image) and challenges gender roles in society.p03zvrft.jpg


Willink School

Day 1 at the Willink School:

Today we met with the students in schools co-ordinator who showed us round the school and introduced us to the pgce students. I sat in the morning meeting with the pgce class to get a feel of what the course is like. the head teacher of the school came in to check on the course and run a quick presentation on tips for teaching strategies.

copy and paste from schools tab once finished

Artist Influences, Studio

Modern Art Oxford

Nicolas Party

“For a new commission by Swiss artist Nicolas Party (b. 1980, Lausanne, lives and works in Brussels and New York), the Piper Gallery is taken over by a theatrical cast of female heads representing and acknowledging the achievements of pioneering women in the city of Oxford. The work is in response to what the artist considers to be the heavily masculine energy of Oxford’s architecture and academic histories. Considering his exhibition as a public forum, the artist celebrates working collaboratively and embraces the collective spirit of the theatre. Speakers incorporates a soundscape of piano, cello and voice arrangements, offering up improvised auditory encounters for visitors.”