2016 – present: Chelsea College of Art
BA (Hons) Fine Art
2015 – 2016: The Working Men’s College
Foundation Diploma in Art and Design
2018, Shibboleth. Take Courage Gallery, London, UK
2019, Chelsea Degree Show. Chelsea College of Arts, London, Uk
“So basically, I pour really bright paint onto a surface that’s usually covered in an excessive amount of biro drawn stars- I don’t know I just have a thing for stars. I have a whole set of vocabulary, things like clouds and bridges and... yeah, I like stickers, I got some from Sainsbury’s for a pound a packet. I also like it when the paint’s really old, it kind of goes a bit manky, so when I pour it dries really interestingly then I can put my stickers on it and they kind of sink. Also, green just looks so good on cardboard.”
My work has always played with the boundaries of conscious decision making and the accident, and how these two opposing natures can meet in the middle to allow for a “balanced state” when making work. Because of this, I have been able to explore the relationship that my work has with the ‘doodle.’ The doodle, much like my work- embodies what it means to be veering in and out of a task, picking and choosing what to pay attention to and what to just chuck down without giving it a second thought.
Confusion and distraction fit hand in hand when it comes to the doodle and the process of making my work. I use distraction as an active tool, it allows me to use a deliberate absentmindedness that married with the more conscious marks, makes for a loud, unapologetic and sometimes confrontational piece of work. This deliberate use of absentmindedness is shown in the way I excessively draw stars; I make a conscious decision to draw these stars, the mindlessness comes with the repetition of the action. The confusion together with the more painterly marks create a piece of work that ruptures the space through its calculated messy nature.
My paintings comment on what it means to work in the margins- like that of a school notebook. The situation of a doodle on a page, (being in the corners rather than the centre) is emulated in the way my work sits on the edges of a paintings ‘natural centre’ – the wall. The placement of my work alongside the doodle-like imagery reflects on what it means to make something which is historically unvalued but also unintentionally creative. By upscaling doodle-like imagery, obsessively and prolifically drawing stars and amplifying every gesture by using bright in-your-face colours, my paintings assert value onto the often discarded doodle and the waste mark.