I have sought to look directly at how we define contemporary painting by using plaster to cast individual panels that resemble paintings. Explicitly asking the direct question of; if there is no paint involved, is it still a painting? I have reflected upon the resilience and history of painting by replacing the strength of canvas for the vulnerability of plaster.

 

On a deeper level, I have used these recent plaster ‘paintings’ as an opportunity to re-consider how to form a composition. The ideas are developed through drawings that reference autobiographical experiences and insecurities. As these drawings become edited in an on-going visual dialogue, abstracted motifs begin to emerge, ready to be incorporated into compositions. The quick set time and unpredictable nature of using plaster has taught me to trust in simplicity to convey impact.

Holistically, the artworks are hybrids, caught between the act of painting and sculpture; naughty outsiders awaiting acceptance into a category. My use of titles offer indication towards their origins, but these are deliberately ambiguous hints such as; ‘Who unhinged the Apricot’ or ‘Sprouting Confusion’. I am reluctant to offer direct referencing but instead encourage viewers to reach their own conclusions and acceptance.