Sculpture & Installation
Tutors: Pip Dickens, Beth Harland and Emma Rose
‘We comfort ourselves by reliving memories of protection. Something closed must retain our memories, while leaving them their original value as images.’ – Gaston Bachelard (1958)
In an age where Greenberg's ‘medium-specificity’ has been abandoned, my practice explores the perimeters of painting. This uses immersive installation to disorientate the boundary between art and surrounding life.
Through a notion of expanded painting, my work translates our relationship to the everyday domestic environment. This takes its stance in Isabelle Graw’s claim that viewers are able to feel ‘at home’ within a
painting. However, where the domestic is designed to provide shelter, it also bears witness to the effects of time. Thus, my practice uses painting to conceive a space that combines dwelling, nostalgia and decay. Taking the home as signifying the human soul, my work recalls childhood belonging, a connection with the domestic that we attempt to recreate in new spaces throughout life. Viewers are asked to question whether the shelter of the childhood home truly exists, or if it simply lies in their nostalgic sentimentality.