Run Deep, 2013, Mixed media on board, archival frame, 190x150x4 cm
These works are as much portraits as they are landscapes, combining influences that range from erudite painting or the history of the painted image, to citations of advertising images or comics. Interweaving multiple painting techniques and the effects of collage and trompe l’oeil, these textured creations feature a colourful and joyous parade of female protagonists and the occasional monstrous creature. Through the theatrical deployment of such carnavalesque figures, I incorporate painterly references to fashion (past and present), adornment, horror, disguise, tribal attire, and also camouflage. The masked characters record a kind of role-playing, exploring alternative representations of identity. In this context I examine the meaning of perception, mimesis, transformation and mutability as a function not only of dramatic personae, but of personhood in general. This is a way of understanding the cathartic role of disjunction and change as the first step towards understanding the unity of the self.
Central to this body of work is the heritage of Surrealist portraiture, both Latin American and Anglo-Saxon. Artists such as Remedios Varo and Frida Kahlo in Mexico, but also Eileen Agar, Leonor Fini, and Emmy Bridgewater come to mind. However, I try to bring a marked post-consummerist perspective to these layered assemblages, applying paint as an abject ‘second skin’, to either embellish or obliterate the impersonal mask that the fashion photo has become. Seen as a group, the works present to the viewer an opulent, multi-faceted garden in which organic detritus and cartoon-like mud coexist with precious stones, and in which strange yet festive figures emerge from metaphorical processes of growth and decay.
The Super-Ego, the Id, and their ladies in Waiting, 2013,
Mixed media on board, archival frame
153x121 cm.