For me, the stories between parental authority and children, although extremely personal, also enable the experience of a possible universal. What I was looking to achieve in this work is to convey such a sensation, and at a certain moment, reach an attunement with the viewer. A piece is personal and perceptive, but at the same time cannot be closed or self-centred. Instead, it communicates, it allows others to enter and leave at any point.
The intensity of Francis Bacon’s works moves me deeply. His suffering communicates itself. The definition of beauty is a kind of intimacy of the visual. I feel for Bacon even though his emotions are not mine. Such a balance of sharing, blending and interworking with viewers is what I value. The intention is to express, but the expression is not simply venting, but sharing. The starting point of the proposed object is first itself, and then external expansion, the care and sharing between the artist and the viewer will cure them both, and propel them to move fluidly – and in both directions – along the continuum between intimacy and individuality.
School of Arts & Humanities
MA Contemporary Art Practice, 2019
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'Some of us are so obsessed with the past that we die for it.' I begin with this quotation from Louise Bourgeois, as her words speak strongly to me.
My practice is often motivated by the emotional relationship with my parents and my childhood memories. I am triggered by this link between memories and the present and have the intensive sensation that the past and the present are superimposed on each other and intersect with one another. If memory itself can picture the ‘past’, then childhood and memories, art and life, affection and eroticism, vulnerability and strength, balance and the threat of collapse all interweave in space.
- BA Fashion Textile Design, University of Leeds, 2017
- Revolve Performance Art Days, Uppsala Konstmuseum, Sweden, 2017