Artists Statement -

My interests lay within a cross section of my degree subjects – Fine Art and English Literature. I have always delighted in the intersections of the ‘arts’ as a whole, and often explore literary themes within my work. My affinity and natural connection to literature has supported my illustration work in which I can connect with a text in an informed and meaningful manner.

I recently decided to branch out and try other art practices and began to study printmaking. Much to my delight, I became enthralled in the practice of screen printing, and the possibilities of the actual process itself. The inaccuracies caused by misalignment and the effects created when not taking enough ink have particularly captivated me. Inspired by artists such as Robert Rauschenberg, this process of manipulation has become an apparent focus within my body of work and I have realised that the process of art making is just as important as the final product. I began to find it beneficial to stop meticulously outlining every step, and instead to immerse myself within the process of experimentation. When creating pieces for my Sylvia Plath series, I found a relationship between the media of screen print and the ideas I was working with. My emotional connection to Plath’s writing prompted a feminist anger to develop, whereby I found myself scratching at wet ink, overlaying images and very lightly printing ink in places to create a fractured look. The influence of feminist theory from my literary studies additionally began to transcend into my recent illustration series, whereby I created a feminist interpretation of the Welsh folk tale ‘Blodeuwedd’. Whilst researching interpretations of folk tales, I became tired of the rhetoric of the female protagonist as trapped, weak, and helpless. Instead, I saw Blodeuwedd as a strong independent woman, who defies societal restraints to be with her true love. I achieved this through presenting her as a tattooed, headstrong woman who escapes the restraints of patriarchy.

My work continues to evolve using this creative ‘hands on’ methodology by immersing myself in the techniques of various processes. Upon observing Emilio IIsgrò’s work on my travels to Italy and in alignment with my recent studies of modernist literature, I am significantly motivated to further explore the nature of language through my artwork.

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