In an age where Greenberg's 'medium-specificity' has been abandoned, my recent practice explores the limitations of painting within in its environment, through immersive painting that addresses the boundary between painting and surrounding life.
My fascination with the domestic takes influence from Isabelle Graw's belief that viewers are able to feel 'at home' within paintings. I am interested in the role that the interior can play on human experience, and vice-versa. Charles Rice's The Emergence of the Interior suggests the impact that a human imposes when manifesting a space. Where the domestic has been designed to create comfort throughout history, it continues to be morphed by 'the trace of the inhabitant'.
Collage, layering, and digital manipulation are fundamental techniques to my practice. I find myself drawn to surfaces in surrounding life, including decorative fabrics, rusting drainpipes, and abstract sections of paintings. Through illusion and a sense of suspended energy, my work lies in an awkward tension between simultaneous construction and disintegration. Viewers are able to become physically immersed in this environment through novel ways of interaction with the three-dimensional painting. My practice thus aims to disorientate the viewer by transporting them into the painting, which resonates, yet upsets, the traditional domestic space.