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Sworders Art Prize Entries *
I have a deep emotional connection to this painting as it is a homage to my late friend and art mentor. This illustrates one of his playful stories of dancing horses and spiders. By juxtaposing the narrative in a chaotic yet melancholic manner also creating a moody and hostile atmosphere. The painting is almost a warlike scene. As it is a reflection of my emotions through a journey in mourning of the loss of my friend. How I painted to my ever-changing emotions and allowed them to embody the work.
The female form has always interested me, exploring through canvas and particularly folds in drapery, the cascades of water-like tones express my journey through life. I’m passionate and obsessed with folds, reading Drawing the Draped Figure has enabled me to learn new ways of conveying meaning through objects, creating a narrative and an aesthetically pleasing piece of artwork. Oprah Winfrey once stated, "Passion is energy. Feel the power that comes from focusing on what excites you” so I’d like to apply this to my artwork. I’m also curious with Chiaroscuro, experimenting with tone to create intense and emotional images.
I have been a lifelong photographer with an interest on work that steers towards the abstract. During my MA I engaged in several experiments, at the same time reflecting on the underlying presence of hidden forces. Dark matter, virus, and Hadron collisions. The nature of the random and the accidental influenced me, (Duchamp's/Mann Ray Dust Breeding) a prime source of my thinking. After an experiment with paper negatives in a primitive camera which wrecked on removal I observed that a state changed in them and on scanning them with a high resolution scanner revealed remarkable results. The choice of using a triptych format is to link the work to religious art practice and belief in the mysteries, in a way that reflects modern mysteries that defy comprehension, and that constantly lead to questions which ultimately cannot be answered. The panel could either be a forensic microscope slide or a vast section of the cosmos.
The ancient Roman sculpture Kneeling Aphrodite reflects the kneeling protest spearheaded by Colin Kaepernick, the god of love kneels and watches us. The blue fabric that covers her mouth and surrounds her is covered with tiny particles to represent the virus. I am afraid of the virus and how it surrounds us, and learning to be an ally to the Black Lives Matter movement.
1984, Thought Police
55cm x 41cm
1984, Ministry of Truth
55cm x 41cm
For this work I have used hundreds of torn or cut fragments of magazines. It is somehow sinister yet beautiful, a gritty reflection of our views on the wasp
The drawing is an intimate portrait of trusting friendship. It is a window into a personal and private world. The viewer is at eye level with the subject, who looks directly from her place on the floor with nothing to hide, while the outside world is shut outside of the frame. The basic strokes of the background reflect the simplicity of life on a narrow boat.
This piece is a batik ‘sketch’ of faces, looking out of windows, reflecting the time we have all spent inside our homes recently. I was inspired by news bulletins showing people in cities, living in flats and apartments who sang, clapped and communicated with each other from windows and balconies. It is worked in multi-media including wax, paint and machine stitching.
I’m interested in watching the focus of people as they do activities that take their full concentration. This is a study from life of my daughter Kate as she played the guitar.
This digital painting depicts Shubho Drishti - an auspicious sight of love, which forms a quintessential part of Bengali weddings from the state of West Bengal in India. In this traditional ritual, the bride covers her face with betel leaves and moments before the garlands are exchanged, she lowers down the leaves and her eyes meet her husbands. It is the propitious sight, which is not only the contact between the eyes, but also the contact between two souls and the essence of true intimate bond between two partners.
Within my works on paper colour is applied in a highly diluted form in superimposed layers, each being allowed to dry before being overlaid by another. The colour is painted onto the back of the paper and, because of the highly absorbent nature of the particular paper used, it soaks through to appear on the front, forming a soft and blurred subtle edge around the central geometric form. The relationship between the front and back of the work is further established by scoured lines and by pinpricks, which are used in addition to pencil marks to demarcate and to divide.