PF: Who or what has influenced your work the most?
Girls. Older girls when I was a young girl, especially. On screen and in the world. I was transfixed by them: their clothes, their hair, their relationships. That fascination and fondness continue to this day. I’m perpetually observing women in the city…my sister, my friends. I’m drawn to their beauty, their self expression, their unruliness, and the intensity of their lives and relationships.
PF: Walk us through your creative process?
I’m very methodical and a great deal of planning goes into my practice. I try to cultivate a ‘flow state’ by reading widely and looking at artists who inspire me - ideally at the National Gallery. It doesn’t always work but when it does, it’s fantastic and the studio shimmers.
I work in series, as it allows me think about narrative across works. Technically, I begin with a vermillion red underpainting, and build form through layering, glazing, and scumbling. It’s very satisfying to see the works come to life.
I work in series, as it allows me think about narrative across works. Technically, I begin with a vermillion red underpainting, and build form through layering, glazing, and scumbling. It’s very satisfying to see the works come to life.
PF: What do you want people to feel or take away from your art?
Truth and beauty.
PF: If you could have dinner with any artist who would it be?
Tracey Emin. If art is meant to tell the truth about what it means to be alive (and I think it is) then no one does it better. Rembrandt is a close second.