The core focus of my practise is my interest in the body, a subject, I think translates well into paint. Drifting from man to woman and vice versa towards a metamorphosis with animals, identifying sexuality and gender. While I refer to animal as a symbol to identify the beast within us, it is also used to affiliate itself with the history of painting tradition such as battle scenes found through the likes of Baroque painters and deluge mythology like Noah’s Ark as seen with Francis Danby’s The Deluge, 1840. What remains a consistent back drop within my work is my relationship with painting and the figure. Whether I paint it or not, it will always be there and this in turn has evolved into other forms, it has manifested into a particular focus on clothing for example through the patterns and of textiles.
This year, my work has taken a new turn; while art history has a greater precedence in my work, I have now introduced a comical and contemporary side to my subject matter. Animal attributes still remain with my figures but they have become more abstract and subtle through props such as soft toys, plastic animal masks and fur coats. I have also added a fascination with fabrics and patterns on wallpapers, clothes and furniture which have facilitated the incorporation of my figures into a domestic setting, in one sense identifying femininity but also my own personal nostalgia of childhood. The creation of my paintings tend to be made through a combination of processes, from life models, made up of sketches of figures both pencil and watercolour, to photographs and collages.