I am a recent art graduate from the University of Chichester who achieved a 1st class honours in Fine Art.. Since graduating I have been nominated and involved in a national Exhibition called Platform Graduate Award. My practise is a hybrid of painting and printmaking on a mixed media basis.
“The power of colour and its role is to tell us what agitates the heart”.
My work is a combination of painting and printmaking, an exploration of the relationship between colour and form. I apply artist’s acrylics and oils in various ways to reference aspects of decorative motifs and interior design, creating an eye catching visual environment that intrigues.
The painterly space created in these works offers a sense of depth that the viewer might feel they could almost step into. The shape of the paintings suggests a screen-like reference to the ‘technical sublime’. I aim for some sense of overwhelm - an experience that is “fundamentally transformative, about the relationship between disorder and order, and the disruption of the stable coordinates of time and space”.
Richard Galpin has been a strong influence in particular his essay “Erasure in Art: Destruction, Deconstruction and Palimpsest” has been key in my understanding of the signification of layers and erasure in painting and printmaking. The Gestalt concept of ‘multileveled-ness’ has also been important, explaining “how the subject matter and structure of artworks can make them carriers of a multiplicity of meanings that stimulate reflection and a greater depth of emotional response.”
 Blanc, C. (1867) ‘The Grammar of Painting and Engraving’ in Batchelor, D. Colour. London, Whitechapel Art Gallery, p 33
 Morley, S. (2010). Simon Morley: Introduction//The Contemporary Sublime. [Online] Available at: http://www.simonmorley.com/biography/The_Sublime-An_Introduction.pdf
 Galpin, R. (1998). ERASURE IN ART: Destruction, Deconstruction, and Palimpsest [Online] Available at: http://www.richardgalpin.co.uk/archive/erasure.htm
 Cupchik, G & Gignac A. (2007). Visual Arts Research: Layering in Art and the Aesthetic Experience, University of Toronto Vol. 33, Issue 1. p 56