I draw from personal recollections of places and people, then construct imagery that is partly rememberred/partly imagined, shaping these scenes in my head. Painting becomes the main channel that shapes my depictions of memories I didn’t experience physically and only visually through photographs or stories, making the work an amalgamation of ideas, memory-aids and fantasies. The process therefore helps provide nuanced reflections, both from an autobiographical and a fictional perspective. The compositions combine elements taken from several photographs and drawings, intertwining multiple temporalities and localities with imaginary details. I also work with ideas connected to the limitless possibilities of interpretation, the many variables of a single story and the subjectivity of storytelling in relation to our own experiences.
Fiction and reality are fused in the work through characters that could exist between life and death, as well as allegories and motifs that might have both literal and symbolic meanings. A concern of mine is social invisibility and how superiority seems invisible to those who hold it, and in contrast hyper-visible to those inferior. Fictional invisibility is thus often employed in my practice as a metaphor for social commentary and to navigate the feeling of neglect. My work in general seeks to depict feelings that we are familiar with but cannot always articulate like yearning, weakness and finding our place in society.
The individual components of the paintings may be realistically depicted, but the overall scenes are not plausible depictions of real moments, but rather situations that are manipulated; they can be lifelike, imagined or romanticised with a psychological insight into the subject matter. My subject’s identities are depicted through a personal lens, but I want them to be relatable in order to invite the audience to question the work and challenge their interpretation regardless of their backgrounds or circumstances. My objective is to defy any definitive reading or understanding in the narrative and instead use painting as a site where knowledge and consciousness are in continuous motion, where elements are remembered, forgotten, edited and their location in time is never fixed, making the story non-linear. Hiraeth is a welsh word that translates to longing for a place that does not exist anymore or perhaps never existed. I relate to hiraeth as I look at the past, but could present a moment that never actually happened, therefore exploring ideas of the subconscious and ephemerality.