Please scroll to find my print work and unfinished works.
This body of work arose from the theory developed through the making of my Macro Paintings in my second year of university.
This work transverses the border between attraction and repulsion, combining saturated colour with disgust and its associated imagery. Through the oversaturation of graphic market imagery and the instinctual distancing that humans react with when encountering the undesirable, these paintings attempt to lure in the audience and develop a relationship with the unfamiliar.
The work desensitises and sterilises the death, decay, disgust and fear; recontextualising the subject matter in the same way a gallery recontextualises the abject.
It is shot at ending the cycle of fetishisation of sensationalism and horror.
This morphing idea of balance in repulsion and attraction is not yet in its final stage. When and if it reaches that point, it should fascinate and disorient the viewer, pushing aside their instincts, their visceral reactions to the undesirable sucking them into,
"... a vortex of summons and repulsions..."
- Julia Kristeva, 1984
Pushing the art aside for one moment I must discuss my own instinct with my subjects. To think that I am not repulsed by these forms would be incorrect, I have attempted many other subjects but I cannot bring myself to immerse myself in their forms. Take maggots, they truly repulse me to the core of my being, I cannot represent them in a way that sterilises them. When facing them up close on a canvas I feel sick, I cannot bear to continue the work as it is too difficult for me to engage with.
I have a continuing relationship with disgust as many fears in my life have been overcome with an infatuation with them. These visceral reactions take place in a 2D space as much as they invade my 3D space. My obsession with the abject arises from childhood experiences with the displaced body. My love for charcoal artworks arose from my disturbance from the sound of charcoal, or its chalky, brittle texture.
As an Athiest, with no belief of the afterlife, I am fascinated with the portrayal of death and decay. To me, it is silence and darkness, but many things occur to the body post-death that are not to be afraid of, they are inevitable. Confront these fears of the unknown now and live peacefully later. The work allows for a peaceful sort of implosion therapy, immersing without invading, fully consensual the work is not abject in that it is calm, it is not grotesque nor gory, it just simply exists to support a conversation.