As an artist I obsessively search for new ideas, reimagining forms, shapes and colours to reinvent my work.
Our bodies act as a reference point to the world around us and to all external stimuli. When I am creating my work, I am ever conscious of my body and the role it plays in bringing new work into existence. There is both a tension and a mirroring between my physical movements in shaping and creating forms, and the behaviour of the material I am manipulating, which responds to and mimics that action.
Pliable and heavy, plastic’s material qualities offer the sensation of resistance when I am making the forms, which require pushing, pulling and folding which are physically challenging.
The organic folds which characterise my work – for example, in my small scrunches – imitate many of the feelings we experience as humans. There is a sense of familiarity between the audience and my works, which act as both visual and tactile stimuli and are evocative of the movement and shapes they embody. There is a degree of intuition involved in perceiving, decoding and experiencing my work. In this way, my work takes on an anthropomorphic quality, because in them we see parts of ourselves, and to them we attribute human qualities, gestures and forms.
During this period of self-isolation, I have had time to experiment with new ideas and techniques. I have adopted a new method applying a vacuum to the material, resulting in a different aesthetic. Flatter in appearance, the forms rise and fall gently, animating breathing. The result is a deliberate rupture appearing in the otherwise smooth surface of the material.
Subdued and lacking the usual heightened gesture of the twisted forms typical of my work, by comparison the new forms possess raised surfaces of varying degrees, framed with a border.
Perhaps my new work reflects a general sentiment of inward self-reflection and stillness, which seems to characterize our present existence while we all experience different feelings about self-isolation during this pandemic.