|From||11 May 15|
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Sophie Taylor and Natalie Fieldwick are currently studying Fine Art at UCA Canterbury and are in their second year. This small exhibition in Lombard Street Gallery features as their final assessment.
The main focus of my work is based around personal journeys and familiar locations. Sometimes pin drops are used on a map to create lines from one destination to another. Each of these destinations plays a specific role in my life, whether it is a bus journey, or the memories of a childhood experience. Each of these ‘journeys’ appropriately magnifies and celebrates day-to-day life making my work seemingly autobiographic.
In my recent works I am using the same technique as my previous practices involving photographs, line drawings, nostalgic sounds/smells to spark inspiration and collaborating that with basic colour theories. This is always at the forefront of my work with the aim being to create space that appears to be protruding/receding.
The influence of Pablo Picasso and the aesthetics of Francis Bacon lend me diverse inspirations. From these, new combinations are generated from using tried and tested methods of analysing an object, breaking it up and reassembling it in an almost abstract form.
I have taken key themes to work from, all of these being associated with Dreamland, the UK’s oldest theme park. All elements have been derived from memories and current localities, that have been taken apart and injected with a carnival of colours found in the surroundings to make extremely vibrant, mellifluous and nostalgic pieces.
I approach composition centrally on paper, and then translate this onto hessian, which is when larger decisions are made or changed in terms of colour and pattern. The aesthetics of the work are based on repeating and steadily adapting arrangements of discretely nuanced slots of colour. I edit my paintings over and over, the paint that was once covered may have been revealed again. The wrong colour may have been scraped off and then re applied in a moment of questioning, but this entire journey is just as important as what has been left on view, showing I have changed my mind during the painting revealing my earlier ideas.
Women are presented in society as an ideal beauty, morphed into a commodity encouraging the viewers to desire them. The fear of not being ‘the ideal’ arises from issues between people in society; judging and criticizing what beauty should be, leading to the corruption of oneself, thriving to manipulate the real. Commodity; A marketable item produced to satisfy wants or needs. Commercial imagery holds a high sense of commodity with processed layers constructed to make something or someone appealing to the eye, almost creating a want that cannot ever be satisfied. This raises the thought of an abstraction of a moment in reality versus mechanical means; commercial versus beauty. Within my practice, there is this disruption between a harshness of mark making versus the flawless imagery of women. Repelling, playing with the undesirable and desirable as opposites, however there is this hint of contradiction. An inconsistency between the superficial and the undesirable woman.
In this show, Fawning Vicinity, I have worked commercially in the terms of presentation, using photographic collage to represent Margate as a commodity. The location in this project has become just as important as the concept of beauty. The idea of Fawning Vicinity is to celebrate the regeneration of Margate whilst still including my interests on beauty in society. With the uprising of the art community and the rebirth of Dreamland, Margate is reclaiming the fun, summer, colourful town it has always been at heart.