portraits

PRODUCTION PORTRAITS

"Macbeth" is a series of 10 commissions completed at the end of 2013 for a production of Macbeth, by The Courtyard Studio theatre at Sherfield School. I was keen to explore the darker natures of the characters by using chiaroscuro (strong directional lighting) and an intimate portrayal of each character.

The "Little Shop of Horrors" paintings were completed for the production in March 2014. I wanted to capture the graphic novel concepts of the play through the use of over exaggerated colours used in my palette.

The "Wizard of Oz" paintings were completed for the production in February 2017 which was showcased at the Haymarket Theatre, Basingstoke. I wanted to capture the heightened colours from the original film and add to it the glitter and glamour of Hollywood, through embellishing the paintings with glitter and beads.

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Big Eyes

I am obsessed with the idea of IDENTITY within my art. From the moment we are born, the one thing we spend most hours of the day looking at is the FACE. Our knowledge of all its variations and our in-depth understanding of its features develops and shifts as we go through life. The importance of the face and its expressions are with us from our birth; it is this discourse that fuels and inspires my artistic explorations.

 

 

Big Eyes - Oil on canvas - 2011

Being a new mum and an artist I want to record my daughters growth as she develops. I want to track and understand how her features and personality develop as she goes through life. She is such pleasure to me and I only hope I manage to capture just the tiniest bit of her independant spirit in this series of work.

I wanted to return to my former use of colours for these portraits, rejoicing in the vibrancy and energy this creates.

"RECORD PLAYER" COMMISSIONED PORTRAITS

This series of work was produced for my three solo exhibitions in 2015. RECORD PLAYER explores the theme of growing up and how other people view us on this journey. In 2014 while working as Artist in Residence at Sherfield School, I requested that parents contact me if they were keen for their child to be painted. I also requested that they offer three words that they would use to describe their child. I found this a fascinating and enlightening experience, with over 50 parents contacting me. I arranged to meet their child for their sitting. What I found interesting was how, as an outsider, you could be influenced by words to capture an element of someone’s spirit and how readily these children demonstrated these characteristics. However what was also intriguing was how others did not and how this hinted at a private life they had away from the school environment.

VOGUE

In my work I am trying to show how we believe that beauty is a new God of our civilization. This obsession with beauty and how we adorn ourselves with make-up has hidden women beneath a veil of vanity, and only when you have beauty are you able to succeed. Most importantly I want to display how thin a veil beauty is and how easily it is lost. The patterns I use are descriptors of what our culture deems to be highly fashionable at present. However these images, lines and colours quickly fall out of vogue. The highly decorative background leeches into the foreground and deconstructs the surface of the highly contrived edifice of beauty. By combining these with images of young beautiful women the paintings are tied to an age which will ultimately drag them into the past.