In my work I create paintings and collages of improbable disrupted landscapes, using the ubiquitous iconography of the family album. The photograph acts as a trigger for recollection, a record of lived experience and an autobiographical clue.
Photographs extend the life expectancy of the transitory moment and act as a souvenir; memory maker and memory keeper. Though the images are private, they are shaped by the conventions and the technology of the time so have a cultural familiarity. In this way, personal histories exist as a part of a wider public narrative.
Process is key to my work. I select, photocopy, splice and amalgamate pairs of images and from these I paint onto aluminium plates, redolent of the material history and objectness of the photograph. Using a muted palette, the melancholic tones allude to a temporal movement receding back in time. I work on a small scale as this references the photographic source material and creates a more intimate viewing experience.
By the elision of images and the progressive emptying out of visual information from the paintings, gaps emerge, allowing for the slippage between history and memory. This affords space for reflexivity, the creation of new narratives and bringing the imagination into play. The convergence creates ambiguity in the image, which is further disrupted as pictorial elements cross clear divisions. Displayed in a series, the paintings, like film-stills, encapsulate the suspended moment while the ancestors; becoming actors, they address their audience across the divide of time.