BFAP Magazine 2023 - Flipbook - Page 47
How has your style changed over time?
Throughout the past 3 years at university, my work has
evolved from simplistic portraits painted directly from
an image to collaged pathological specimens, a lot less
reliant on the reference image. I shifted from acrylic
paints on paper and canvas, to oil paints on board. My
first year was about experimenting with new techniques
that I found interesting and understanding what I want
to paint. In all my previous art education, I was always
told what to paint and what mediums I should be using.
Coming into university, it was a big step away from
this dependency, so it took a while for me to adjust. It
wasn’t until the last half of the final term that I started to
understand that I was interested in the grotesque, using
warped realism to create images that provoke a reaction
in the viewer. This was constructed in my second year
where I expanded these ideas and introduced the use
of stuffed tights as well as the interest of the subject
matter ‘Cabinet of Curiosity’. I focused on the act of
collecting preserved specimens whether that be in a jar
or taxidermy. These ideas were developed and analysed
even further within my third year as I questioned what
part of preservation I was intrigued about the most.
From this, I narrowed down the subject to gender bias
medical research, and a focus on the yellowing tones
within the paintings. Finally the understanding of what
sculptural materials to use that match my subject better,
such as latex, silicone, and wax. I had studied over
the summer about the gender- biased medical research
taking place in this time and felt a need to create
works around this unspoken subject. Feeling a close
connection to this subject as having experienced this
systematic injustice, being undiagnosed of endometritis
for years resulting in not being able to attend events and
education has fuelled me to make works based around
women’s health. Over the summer going into third year
I visited UCL Pathology department, of which has an
outstanding collection of women’s organs, to collect
source materials for the new approaching year.
Previous page
Anencephaly; Exomphalos;
Spina bifida
2023
Oil paint on board
14.5 x 20.5 cm
What source materials do you use?
It is important that I work from original and true
pathological source to portray the true horror that is
caused by the lack of research within Female Pathology.
Many of my source materials are gathered from
museums and pathological collections I had visited, as
well as sculptural works I have made such as contorted
stuffed tights from past works and distorted slime and
stuffed condoms from this year. Drawing the specimen
as a research tool to understand the biological and
anatomical structure before contributing this to my
paintings. Collaging my source materials is something
that I consider essential within my painting practice,
making certain aspects almost unrecognisable to
distinguish giving the feeling of discomfort presented
by looking at the unknown. In addition, getting the
sense of discomfort, how it can make you feel conflicted
within yourself with wanting to walk away from the
subject that is causing it, yet there’s an urge to stay and
observe.
How do you know when a piece of work is finished?
When I first finish a piece, I step away and observe from
afar to get a whole view. From this, I can see clearly
which areas need more work. After repeating this
process a few times, the piece begins to feel coherent
within itself and a feeling of satisfaction confirms the
work has been completed.
BFAP
How long does it take you to make your art?
The paintings and drawings I make consist of many
details and layering, making my works extremely
time-consuming. It takes on average 2-3 months for
one painting to be completed. In today’s society it is a
very modern concept that art should be made quickly
within days or weeks, in comparison to the old masters
of which would spend months, years to complete a
painting. I enjoy the long process of my works; I feel
it is an escape mechanism to get away from the fastpaced modernist life of today. Thanks to Dyslexia I
have ‘spatial mechanical thinking’ meaning that I am
able to understand what the final outcome of my art will
look like in vivid detail before I have even picked up
my tools. This means I don’t rush to complete a painting
to see the final outcome but allows me to take my time
over minute details.
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2023