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Returning Perspectives, 2019

Canvas, wood, oil paint, emulsion, plaster.

This work follows the theme of transiency and impermanence, all things carry the knowledge that they will one day cease to exist in that current form. Every physical object follows a continuous cycle of construction and deconstruction, this can be seen as an expression of time. In this project nature was used as a metaphorical device to begin showing the eventual effect of time.

In my work I have mainly explored sculpture and pattern making. I originally began pressing air dry clay against small sections of wood to get impressions of the surface texture. It began to evolve into larger sections which were taken straight from trees. These sculptural pieces became mirrored surfaces of trees, I realised that I wanted to create echoes of these trees that seemed like rejections of nature, that is when I began using clay and plaster. Filling the clay moulds with plaster produced actual copied sections that were pale and delicate. I had also been producing small stamps which had been inspired by sections of bark, I decided that I wanted to increase the scale of my work so I began producing larger stamps to use on larger spaces. This led me to printing on large sections of canvas and material. Originally, I stamped black ink onto white paper but the idea of producing works which were barely visible and distinguishable suited my conceptual thoughts better. It’s in those moments of concentration- searching for the pattern and noticing the texture of the work that you become hyperaware of time. I looked into artists such as Ad Reinhardt and Robert Ryman however I wanted to move away from classic paintings by not situating my canvases onto frames.

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