Study of a Dancer

Concept

My practice is predominantly autobiographical, considering human existence, including some of the more challenging aspects of life.

Movement is a key factor in my work, an abstraction of fluid forms reflecting my interest in the endeavour of existence. My canvas works, often employing acrylic paint and muslin, explore spirituality through textural forms.

In the past, I worked predominantly in monochrome. In effect removing all colour, working in pure white, occasionally introducing tones of grey and black. Working in monochromatic white allowed me to strip away anything superfluous from the composition, allowing the viewer to focus solely on the sentiment of the piece.

In time I began exploring the reintroduction of colour, primarily using the primary colours, seeing if they might bring new meaning and strengths to the work. Expressionistic yet controlled, muslin is thrown repeatedly and teased until the ethos of the piece is revealed. The minimalistic canvases’ rich textures reveal delicate and sensual figures.

I have an interest in performers and have investigated many artists including Rudolf Nureyev and Vaslav Nijinsky, interested in their undying commitment to their art despite the suffering it can often entail. I used the image of the performer as a metaphor for human tribulation.

Over time the conceptual expressions of emotion have become much more figurative. Elements of soulful musicality and dance are present in the work which explores the philosophy of the performer and reflects on human vulnerability.