Statement
Each aspect of my work is based around one central idea, the importance of childhood experiences. With this in mind, I have begun to create a snippet of another world, a past world that is in my distant memory. A world where I was in some ways so free and yet also so restricted. And in this world those restrictions can become suffocating.
Using a mix of sculpture and painting over the course of this year I have attempted to begin unwinding some of these memories and reach the core of emotions that have built the foundation for my adult life.
In early research I discovered an article in Frieze, ‘Hugh Hayden Wrestles with Childhood’, which explores Hayden’s first solo show ‘Homecoming’. Consisting of 14 sculptures Hayden's work focuses on the idea of a return, and whilst there are many unique aspects to his work, the concept of a homecoming and all that can encompass fascinated me and is what I took forward the most in my work. What can a homecoming be? Does it have to be a physical act, or can it be emotional and within our mind and memories?
From this point onwards I began experimenting with different media, with a specific focus on what would be the ‘base’ of each piece. Cardboard was a great base to use for more loose paintings where I was working with early concepts, as it allowed for free range of practice without many limitations. The texture of the cardboard also made a great way to add visual interest and tell the story of the subject through the surface of the piece, especially later down the road of experimentation when I began adding texture paste as well.
I also created two sculptural pieces using wire as a base and wool roving, using the technique of needle felting to create a form. I played here with size, making one miniature at 12 cm by 9 cm, and one almost life size at 100 cm by 50 cm. I found that they each give a dramatically different effect.
One of my later pieces, ‘Schoolhouse’ is a 76 cm by 61 cm oil on canvas painting. I limited my colour options significantly, allowing only magenta, Prussian blue, and titanium white onto my palette. This led me to work completely in purple monochrome, which I decided on as a way of creating the sense that this object lived within a dreamscape of sorts. To further this idea, I free handed the initial sketch of the building onto the canvas, not allowing for the use of any tools such as a ruler. This allowed me to curve and distort the walls and overall perspective in a very natural way, as a child may when they recount a dream. There are also small added details such as the hinge on the side of the building, with the seam all the way up, not necessarily the first thing one would notice but upon inspection it is revealed and so is the true nature of this building. It is a dollhouse, or it is appearing that way in this dream at least.
My final exhibition piece is ‘It’s Cejaay’s World and She’s Living In It’ (75cm x 140cm x 55cm). For this I created another large felted sculpture of my character, Cejaay, this time involving other materials such as wood and foam in order to bulk out the piece and make it a more sustainable practice long term, regarding how long it takes to produce. I also added objects from my own life, current day and childhood, around the base of the sculpture, and a friendship necklace that I share with my childhood friends around her hand. I chose this personal element to bring to life the character as a part of me.
Ultimately, I chose needle felting with wool to achieve a softness to the sculpture, and the process itself is so time consuming and labour intensive that I found that it really reflected the process of growing up and my experiences in that sense. A long and laborious task it is to grow up, to remain soft to the touch seems like quite an achievement after that much injury.