Artist | London
My recent practice is a continuation of a body of work which was principally made in Yangon, Myanmar over the past 10 months. I made the conscious decision to move my practice from South East London to Myanmar to discover how the change of environment would affect the key elements of my work. Most of the inspiration for my work is drawn from my environment. There is a common thread of repetition in my work of certain iconographies, languages and techniques, but with each new painting, I try to introduce something new to the conversation. I’ve spent most of my adult life in London, first studying fine art and later working in an industrial workshop – doing wood and metal work alongside my art. The processes I learnt during this period began to infiltrate my artistic practice. I realised I could combine all of these different themes in my artistic approach and they could inform one other alongside the existing elements of my work. In turn, the paintings reflect the setting in which the ideas for the work were originally conceived – both conceptually and physically. During my time in Myanmar I was surprised at how many parallels could be drawn between London and Yangon. I think my most recent body of work attempts to showcase these parallels and frequents a place somewhere between the two. Since returning, I have continued to paint as well as create large scale aluminum and steel sculptures.
The work contains an optical element which refers to the way we see through different moments in our lives. I aim to let works give off a silent hum when your experiencing them much like a static television, inverting the viewers gaze and allow them to switch between the various layers within the paintings. The intention of this is to capture audience from their initial viewing with the works but to also reward a pro-longed interaction.