A Kind of Completeness
I use abstract shapes and forms pertaining to the body in order to animate the surface. I’m interested in the tactility between language and the visual through the traction of physical substances such as paint and paper and the use of tools and force on the walls of the spaces I occupy.
A conversation between figure and ground manifests through the exploration of physical, bodily boundaries. Paint is pore-like, it breathes, it becomes like flesh. I also view whichever surface I am working with as a sort of skin or film, a boundary line that I can manipulate.
Melting formations and hard edges collide with one another by weaving, interlocking and merging into imagined places. The edge resembles a threshold, a borderline, something that encases in order to hold-in but can also be traversed or destroyed. My work is concerned with the idea of grasping for wholeness (a kind of completeness) and its inevitable failure.
School of Fine Art
MA Painting, 2015
+44 (0)7805 257657
- BA Fine Art, City & Guilds of London Art School, 2011
- Shek O, EWHA Womens University, Seoul, 2015; RCA Secret, Royal College of Art, London , 2015; Reality Departure, Lacey Contemporary Gallery, London, 2014; Future Flesh, Gallery 223, London , 2014; RCA Secret, Royal College of Art, London , 2014; Work in Progress Show, Royal College of Art, London , 2014; When reason dreams, monsters are born, ASC Bond House Gallery, London, 2013; The Settlers, Norman Rea Gallery, York, 2013; The Catlin Guide Launch, London Art Fair, London, 2012; Creative London, Space K Gallery, Seoul, 2012–13; 1, Block 336, London, 2012; Recent Graduates Exhibition, Affordable Art Fair, London, 2011
- Nominee, Bloomberg New Contemporaries, 2014
- The Catlin Guide, edited by Justin Hammond, 2012; My Touch, 'Contagion' ARC Magazine, issue 19, 2015