I have constructed my ‘Boxing Series’ works using a complicated painting and drawing process which unites the figures within the boxing club surroundings. The paintings focus on movement and the objects within a conventional boxing club rather than the pure act of boxing focusing on the boxers. Instead, I created a suggestive ‘tension’ or ‘fight’ using different mediums; in other words, letting the mediums battle it out on the canvas. Composition, which is integral to my work, is shown with formality and balance that underpins the energy of the boxer’s movements. In the boxing ring, which is contained by ropes and a referee, the composition keeps the movement within the canvas creating an even greater tension. Even though the figures are not the central point to the piece, they are vital to ensure presence and vitality is maintained within the paintings.
From investigating the works of Mamma Andersson, Luc Tuymans and Patrick Caulfield, I wanted to explore ways of using oil in a different way to how I previously used oil paint. Works such as ‘Alter’ 2002 and ‘Die Blaue Eiche’ 1998 by Luc Tuymans and Andersson’s ‘Pigeon House’ 2010 were of great inspiration to me due to their use of oil in a minimal and reduced manner. Certainly, in my degree piece titled ‘The Boxing Club I’, Caulfield was vital to my development of this piece as he combined monochrome screen prints with drawing, for example ‘Bathroom Mirror’ 1975. To incorporate Caulfield’s method of colour and drawing into my own work, I combined oil and mixed media such as graphite to create an evocative visual language within my works.
In my 'Absence and Presence Series', I explored the relationship of what makes an absence present and a presence absent. The series focuses on pubs, cafes and old brasseries.
The central theme to the works are the objects which are associated within these interior spaces such as empty pint glasses, leather sofas and beer stained tables. I focus on these objects to infer that a 'being' or 'presence' was present within the space, creating a remote and isolated atmosphere. With the deliberation of not using figures within the works, I tried to create a tension between the work and the viewer. Therefore leaving the paintings to a viewer's interpretation and questioning what is in the work and can a relationship between the paintings and viewer be created looking at objects? To develop this idea further, I used a muted palette to enhance the atmosphere and depth living within the works.
Throughout my development of my Absence and Presence series, I explored the works of Edward Hopper and Adrian Ghenie. Mainly how they depicted empty interior spaces with essences of life, for example, a figure in shadow and empty furniture. Ghenie’s painting titled, ‘The Red is on Fire’ 2008 and Hopper’s ‘Sun in an Empty Morning’ 1963 inspired me to pursue the idea of creating a relationship of absence and presence.
From investigating the works of Mamma Andersson, Luc Tuymans and Patrick Caulfield, I wanted to explore ways of using oil in a different way to how I previously used oil paint. Works such as ‘Alter’ 2002 and ‘Die Blaue Eiche’ 1998 by Luc Tuymans and Andersson’s ‘Pigeon House’ 2010 were of great inspiration to me due to their use of oil in a minimal and reduced manner. Certainly, in my degree piece titled ‘The Boxing Club I’, Caulfield was vital to my development of this piece as he combined monochrome screen prints with drawing, for example ‘Bathroom Mirror’ 1975. To incorporate Caulfield’s method of colour and drawing into my own work, I combined oil and mixed media such as graphite to create an evocative visual language within my works.
In my 'Absence and Presence Series', I explored the relationship of what makes an absence present and a presence absent. The series focuses on pubs, cafes and old brasseries.
The central theme to the works are the objects which are associated within these interior spaces such as empty pint glasses, leather sofas and beer stained tables. I focus on these objects to infer that a 'being' or 'presence' was present within the space, creating a remote and isolated atmosphere. With the deliberation of not using figures within the works, I tried to create a tension between the work and the viewer. Therefore leaving the paintings to a viewer's interpretation and questioning what is in the work and can a relationship between the paintings and viewer be created looking at objects? To develop this idea further, I used a muted palette to enhance the atmosphere and depth living within the works.
Throughout my development of my Absence and Presence series, I explored the works of Edward Hopper and Adrian Ghenie. Mainly how they depicted empty interior spaces with essences of life, for example, a figure in shadow and empty furniture. Ghenie’s painting titled, ‘The Red is on Fire’ 2008 and Hopper’s ‘Sun in an Empty Morning’ 1963 inspired me to pursue the idea of creating a relationship of absence and presence.