My work is a process of gathering and re-using. I plunder images from old master paintings of women by Leonardo, Titian, Raphael and Bronzino. I also collect cuttings from magazines and illustrations of plants and still life paintings from the Renaissance. In using these appropriated images I question the notion of beauty and how it is represented and constructed by society. I also want to investigate the power and seduction of these images and consider how they have been mediated through mass production. paintings from the Renaissance
In my picture making I use stuff from the house such as tumble dryer felt, Hoover dust, lace table cloths and doilies. They refer to domesticity, cleaning, washing and eating – the mundane and fundamental processes of living. The lace and embroidered table cloths were made by women and considered to have no aesthetic value. I would like to elevate these objects to the realm of fine art and acknowledge their inherent value and history in the lives of women. In some paintings I use the triptych format which has religious and art historical connotations. I want to create a dialogue between different images and times frames. The tumble dryer felt takes on the equivalence of a painted surface and is evidence of a history or a trace.
I construct my paintings by using these disparate elements. The backgrounds are made from sticking the different materials to the canvas and then applying layers of dribbled paint. I play with loss of control and random mark making and the manipulation of colour. The figurative image is cropped and painted with carefully built-up layers to mimic the original. Through these processes I can experiment with ways of rendering and different languages of painting. I can also control what is seen or concealed and manipulate the gaze of the viewer and the viewed. In the process of painting I try and create beautiful or seductive images but I also attempt to disrupt the reading by creating a sense of unease and questioning.