A3, charcoal 

A3, charcoal 

Looking at the volatility of the ocean, and the movement of stormy ocean waters. Using charcoal allows me to integrate the movement of water in harsh conditions into the physical process as I vary the pressure of my hand and use dramatic sweeping strokes representing the larger waves.

The impermanent quality of charcoal reflects the same attributes of water - flexible, easily changing, strong as well as soft.

A4 study of 'Staccatos an Armin' by Norman Ackroyd 

Exploring the relationship between unfixed charcoal and inks and fixed charcoal and ink as part of the process for a large still life

The importance of adding ink to the charcoal piece is to construct the ethereal atmosphere that has been fundamental during the rest of the project.

40cm x 65cm

1. Experimentation drawing spreads: ink, using different types of mark making tools.

Interested by the way that different materials convey energy, mimicking their forms and structure. 

2. A collection of intimacy I have witnessed over 2022, the relief of lockdown lifted and the opportunity for humans to interact closely again has given me an appreciation for connections between people. The figures are shown without faces, taking away individual identities and furthering the attention on their bodies as one entity.

Moving forwards to Final Pieces and Resolutions:

The quote sewn into the painting is a quote from Franz Kafka, a 20th century writer whose work balances realism and the fantastic which I feel resonates with this piece.

The quote itself acts as a label to the situation, clearly defining everything wrong with the character almost like the title of a play or scene.

Featuring a domestic setting, this painting revolves around the low-spirited movements of the figure in their personal space. The figure becomes lost in their self and in parts, disappearing into the background. The colour palette, featuring muted colors and droopy, enclosing brushstrokes creates subdued, gloomy feel and adds to the sense of feeling stuck or swallowed up. A palette knife is used to create harsh, confident marks furthering the idea that the space is closing in.

3 x 2 ft

Above is a large scale drawing (3 x A1) used to inform the large scale oil painting below (3x3ft) 

Initial analysis, physically examining the material; test studies - experimenting with different types of glue and techniques 

developmental sketches, process images 

typically,  a stack of chinaware would fall ad become broken, yet this stack has already been broken - it came together after having been broken instead of vice versa , there is something humane about this concept. 

The meaning that these seemingly normal plates hold has changed drastically, the structure now indicates previous traumas or incidents yet is still standing. The objects have come together and stand together. Although an unconventional assemblage, the plates in themselves are recognisable, they are still the same plates even after a change in state.