My body of work investigates the spaces around us and details of the natural world. Initially, my work aimed to capture familiar settings. This evolved to include natural themes and subjects, reinforcing a lasting beauty found in ephemeral and imperfect qualities. This is supported by the mix of figurative forms and abstract elements achieved primarily through 2D artworks with mixed media. My artworks are rooted in reality, based on my own photographs and often slightly abstracted. This approach was a reaction to lockdown and the desire to look and treasure the surrounding nature. My vision for presenting this body of work was to share my intimate connections to the spaces around me to encourage the audience to search for the unnoticed details that adorn their daily lives. I want to influence and evoke an emotional response to the natural world.
Since my first artwork Familiarity, I was taken by the way nature interacted with the city. I wanted my art to reflect the spaces personal to me. I then explored the undeniable connection between humans and the natural world in 3D artworks Floating through Space and The Space Within representing jellyfish. In searching for a challenge, I limited myself to unfamiliar media to expand my range of skills beyond drawing such as ceramics, papier maché and wires. Instead, I wanted to work more concretely tied to personal experiences and culture. This was achieved through Semblance of Substance and Always chasing the sun. In Always chasing the sun, I returned to painting natural details with my preferred medium, watercolours. This artwork tied my body of work together thematically, in colour scheme and in objective. As I regularly document my surroundings through photographs and drawings, up until my final artwork Always chasing the sun, I referenced my photographs to share treasured details in my daily life and my travels. The organic lines in my artworks are representational of the uncalculated spontaneity of humans and nature alike. I achieved these rhythmical patterns through diluted acrylic paint washes, ink and watercolours. Watery mediums provided unpredictable but often serendipitous results.
I was initially conceptually inspired by Antony Gormley’s Another Singularity, a work I visited in person. It influenced my approach to search towards spatial and temporal contexts for a better understanding of ourselves. The focus on our relationship with nature was prompted by Ernest Pignon-Ernest’s Les Arbrorigènes, capturing the evanescence of living. Encountering Shōji Hamada’s pottery was a turning point stylistically. Instead of seeking precise perfection, I allowed beauty to emerge from an honest presentation. Other Japanese influences included art from kakejiku, hanging scrolls, and its use of negative spaces.
My exhibition is in a room with three walls. On the central wall, to the right of a large window, seen first when the audience enters the room, is my most recent artwork, Always chasing the sun. The collection of watercolours are spread along the wall. It creates cohesion as it balances the colours displayed on either side of the room, warm greens and orange on its left and cool blues on its right. Furthermore, the colour values in the artworks around the room alternate. Along with the lighting from the window, illuminating the triptych and Perfectly Inconsistent located in the centre of the room, they create an atmospheric space. This enables the audience to inspect the entire 3D structures and how they interact with lighting at different points of view. On the immediate left, is my first artwork, introducing my journey of ideas. The triptych and ceramic piece beside it, display a connection in their use of painterly surface motifs. The room is divided into vegetal subjects on the left and water themed on the right. I have tried to maintain an impression of lightness in the atmosphere of the exhibition as a whole.
In the way that photographs last but the natural subjects do not, from my exhibition, I would like the audience to appreciate the impermanent details of nature. After a long period of restricted movement, I would like to suggest that extravagance is not needed to be impressed. Instead, to consider minute features in their day to day or future travels including lighting and natural beings such as trees and flowers.
Always chasing the sun (March 2022)
Watercolour on paper
80 x 80 cm
Always chasing the sun is a collection of watercolour paintings. The paintings are based on photographs of nature from travels and daily life. I intended to share the impermanent details of nature. I was influenced by childhood inspiration, watercolour illustrator Chihiro Iwasaki, through her attention to negative space. I tried to produce outlines by adding water directly onto paper. I layered pigments to imitate depth. The watercolouring process required practice, patience and confidence.
Perfectly Inconsistent (December 2020)
Ceramic, oxides, glaze and graphite
15 x 15 x 15 cm
Perfectly Inconsistent embodies the unpredictability that comes with living. This clay sculpture is a collection of textures based off of Familiarity and Semblance of Substance. There are many influences from traditional Japanese pottery and artist Shōji Hamada. Additionally, inspiration is taken from Kyra Cane’s serendipitous approach. This is achieved by leaving the imperfections of the sensitive clay medium as an honest expression of the process and ultimately of the beauty of inconsistency.
Floating through Space (March 2021)
122 x 24 x 24 cm
Floating through Space is symbolic of the interaction between humans and their environments. Inspired by Ernest Pignon-Ernest’s interpretation of the briefness of life and nature, the barely sentient jellyfish reflects these qualities. The monochromatic colour scheme and the contrasting tonal hues emphasises the glow of the jellyfish interconnected to its environment. Light shines through the layers of glue and tissue paper. The kinetic element allows reactions to its space and time.
The Space Within (June 2021)
69 x 26 x 26 cm
The Space Within is a continuation of Floating through Space. It reinterprets the consciousness of the jellyfish within the space it is in. The line between where the sky ends and the ocean starts is blurred. The glue and tissue paper shell resembles half a moon on the outside in reference to the Japanese characters of jellyfish (ocean moon). Inside, a galaxy opens up. Wire and glue hangs down the circumference of the shell in the form of jellyfish tentacles, imitating stars.