Self PortraitA1Bamboo pen, paintbrush and indian ink.
Whilst suffering from a particularly dark depression, my self esteem and perception of my image was particularly low, and upon instruction to complete a self portrait I conceptualised the desire to escape my reflection in the mirror in an awkward angle and the reality of a form I hated in erratic lines and dark shadows.

Self Portrait
A1
Bamboo pen, paintbrush and indian ink.

Whilst suffering from a particularly dark depression, my self esteem and perception of my image was particularly low, and upon instruction to complete a self portrait I conceptualised the desire to escape my reflection in the mirror in an awkward angle and the reality of a form I hated in erratic lines and dark shadows.

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Abstraction of the letter M IIA1Indian ink (pen/paintbrush), red acrylic paint, iridescent acrylic medium
I conceptualised the idea of blood in this image, experimenting with the properties of ink. I kept only one M red to portray the source of blood/wound - the red signifies life, which at source is contained by the body, and upon escape, is just a spilt liquid.

Abstraction of the letter M II
A1
Indian ink (pen/paintbrush), red acrylic paint, iridescent acrylic medium

I conceptualised the idea of blood in this image, experimenting with the properties of ink. I kept only one M red to portray the source of blood/wound - the red signifies life, which at source is contained by the body, and upon escape, is just a spilt liquid.

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BearA4Pencil - mainly soft
As part of a project on Native American art, I looked at animals which were important to them and typically idolised as gods and used in their art/stories. The Native Americans were known to personify the animals and see them as spirits, so I looked at the stereotypical characteristic of the bear (fierce contrasted with softness of fur) for this drawing.

Bear
A4
Pencil - mainly soft

As part of a project on Native American art, I looked at animals which were important to them and typically idolised as gods and used in their art/stories. The Native Americans were known to personify the animals and see them as spirits, so I looked at the stereotypical characteristic of the bear (fierce contrasted with softness of fur) for this drawing.

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Abstraction of the letter M IA1 (Top left - whole. Top right/bottom: close ups)Watercolour, oil and metallic acrylic paint, pen and blue indian ink
Using a stencil of a letter M in Times New Roman, I wanted to experiment with negative space, the properties of different paints, varying shades of a predominantly cold colour palette, visual/literal texture, straight lines and various paint application techniques. I mainly used watercolour paint, the properties of which conceptualise the sea, so I used the colour palette of green (seaweed), blue (water/sky) purple (coral/rock) and gold (light) to compliment this.

Abstraction of the letter M I
A1 (Top left - whole. Top right/bottom: close ups)
Watercolour, oil and metallic acrylic paint, pen and blue indian ink

Using a stencil of a letter M in Times New Roman, I wanted to experiment with negative space, the properties of different paints, varying shades of a predominantly cold colour palette, visual/literal texture, straight lines and various paint application techniques. I mainly used watercolour paint, the properties of which conceptualise the sea, so I used the colour palette of green (seaweed), blue (water/sky) purple (coral/rock) and gold (light) to compliment this.

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WoodlaneA4Silk screen print
Cutting erratic straight lines in a paper stencil and printing onto a pure white piece of material gave a contrast between the white negative space of the forest trunk forms against a sea of green/blue forest floor. I wanted to keep the print fairly simple and abstract, which is why I used a limited colour palette and only straight lines.

Woodlane
A4
Silk screen print

Cutting erratic straight lines in a paper stencil and printing onto a pure white piece of material gave a contrast between the white negative space of the forest trunk forms against a sea of green/blue forest floor. I wanted to keep the print fairly simple and abstract, which is why I used a limited colour palette and only straight lines.

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Encaustic Oil PaintingsLeft: 5x7”Right: 11.5x7”Oil, white emulsion and wax on plywood 
On a trip to London I noticed that all of the wildlife, natural elements or foliage was trapped and isolated in parks behind railings, confined in pots/hanging baskets or controlled in perfect lines to follw the pavement. This was so different to where I live in Wales, where the landscape is in control and we bend around it, dealing with mountains, valleys and rugged scenery. I used this as inspiration for an obsessive documentation project.I layered oil and wax on board, with areas of rough bristle marks and raised mounds of oil paint juxtaposed against harsh straight lines and chunks of wax. The bottom layer is of pure white and wax, to give a clinical, controlled feeling of attempting perfection, with an oil paint top layer of shades of green, blue, purple and yellow - colours in nature and full of life.

Encaustic Oil Paintings
Left: 5x7”
R
ight: 11.5x7”
Oil, white emulsion and wax on plywood 

On a trip to London I noticed that all of the wildlife, natural elements or foliage was trapped and isolated in parks behind railings, confined in pots/hanging baskets or controlled in perfect lines to follw the pavement. This was so different to where I live in Wales, where the landscape is in control and we bend around it, dealing with mountains, valleys and rugged scenery. I used this as inspiration for an obsessive documentation project.I layered oil and wax on board, with areas of rough bristle marks and raised mounds of oil paint juxtaposed against harsh straight lines and chunks of wax. The bottom layer is of pure white and wax, to give a clinical, controlled feeling of attempting perfection, with an oil paint top layer of shades of green, blue, purple and yellow - colours in nature and full of life.

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Metal Manipulation6 pieces of steel, varying between 1” - 2” width/height
Adding heat to steel gave ethereal colour effects, like spilt petrol. I experimented with placing fingers/objects on the steel before applying heat to give different patterns. The second set of pieces have also had letters stamped into them: (from left to right) ‘free’, ‘expressionless sirens’ (referencing a line in a poem by Sylvia Plath called Crossing the Water) and ‘rain’ (I also left small dents in this piece using a nail).

Metal Manipulation
6 pieces of steel, varying between 1” - 2” width/height

Adding heat to steel gave ethereal colour effects, like spilt petrol. I experimented with placing fingers/objects on the steel before applying heat to give different patterns. The second set of pieces have also had letters stamped into them: (from left to right) ‘free’, ‘expressionless sirens’ (referencing a line in a poem by Sylvia Plath called Crossing the Water) and ‘rain’ (I also left small dents in this piece using a nail).

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UnderworldDigital PhotographPart of a series entitled Ending, this image is an interpretation of Hell. I was comparing Christianity with Celtic paganism, looking at how Christianity demonised certain personality traits of the pagan goddesses and idolised others, creating the strict sinner/saint archetypes. I researched the idea of the death of the senses/sanity, looking at instances of possession, witchcraft and human sacrifice, whose victims were typically female. 

Underworld
Digital Photograph

Part of a series entitled Ending, this image is an interpretation of Hell. I was comparing Christianity with Celtic paganism, looking at how Christianity demonised certain personality traits of the pagan goddesses and idolised others, creating the strict sinner/saint archetypes. I researched the idea of the death of the senses/sanity, looking at instances of possession, witchcraft and human sacrifice, whose victims were typically female. 

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Ceramic DollLeft: Digital Image. Doll is 12” tall.Using clay slip moulds, I created a ceramic doll with gaping holes at the eyes. I carved holes to add expression to the face and as a reference to the idea that eyes are the windows to the soul. Dolls are strange imitations of life, and I wanted to contrast the lack of humanity from the fixed position and white body with the depth of the darkness of the skull to create an unnerving object.By using photography, I extended this idea further, zooming in after focusing whilst using a slow shutter speed to create the effect of movement and personality. 

Ceramic Doll
Left: Digital Image. Doll is 12” tall.

Using clay slip moulds, I created a ceramic doll with gaping holes at the eyes. I carved holes to add expression to the face and as a reference to the idea that eyes are the windows to the soul. Dolls are strange imitations of life, and I wanted to contrast the lack of humanity from the fixed position and white body with the depth of the darkness of the skull to create an unnerving object.
By using photography, I extended this idea further, zooming in after focusing whilst using a slow shutter speed to create the effect of movement and personality. 

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Fern des FleursDigital PhotographsI wanted to capture Fern hidden amongst the flowers in a way which simplified the human form, reminding the viewer of the organic shape and textures of human skin and features. The two images, although similar in composition, were processed differently to provide different concepts - in the first image, it is as if the individual grows out from the environment, and in the second, the land surrounds and traps the subject. This is a reference to the times we have control over our environment and destroy it, and to the times that we are engulfed by our circumstances.

Fern des Fleurs
Digital Photographs

I wanted to capture Fern hidden amongst the flowers in a way which simplified the human form, reminding the viewer of the organic shape and textures of human skin and features. The two images, although similar in composition, were processed differently to provide different concepts - in the first image, it is as if the individual grows out from the environment, and in the second, the land surrounds and traps the subject. This is a reference to the times we have control over our environment and destroy it, and to the times that we are engulfed by our circumstances.