In the Rückenfigur series I employ a painterly device popular in the Romantic era. This compositional tool has typically been deployed as a site of identification for the viewer, to allow them inside the landscape or scene. In my application the inherent contradiction and impossibility of this is laid bare. Painted on glass, the figure is only ever viewable from the back, and the viewer is blatantly refused access to the inner workings and perceived perspective of the figure.
I benefit hugely from the rich history of art, and I often refer to pictorial archetypes from different eras. The girl figure in the Rückenfigur work ‘Aim’ (2020) also draws from the historical ‘putti’ figures - the angelic and naughty boys that can be seen peeing in fountains, fondling women or generally partying in monuments and paintings all over the world.
Loops of visual information, investigations into the movement of the eye, explorations of depth/surface, illusion and suspension of disbelief.
In the ongoing ‘Corpus’ series, I work in the still life tradition to represent the female body as a vehicle of nourishment and consumption. The series took off while I was breast feeding my youngest child and is a humorous and playful body of work that now amounts to over 50 paintings and still growing. Corpus is latin for body and a term for the mid panel of an altar piece. These works all share the same basic composition. They are all made swiftly, predominantly in alla prima or 'wet on wet' oil painting technique.