About
So far in my practice, I have been interested in combining traditional Japanese aesthetic qualities (mostly from the Edo period, ranging from Japanese screens and scrolls, kimonos, wood block prints, earthenware and inros) with Italian, medieval to early Renaissance aesthetics (mostly from cassoni, tapestries, altarpieces and stained glass). As well as trying to merge the contrast between the Japanese simplicity and the Italian more elaborate aesthetic, I find a relationship in their appearance through their use of gold; reflective surfaces; graphic colour and composition; patterning and the idea of ornamentation.
In reference to my aesthetic interests, I have been exploring different patterns varying from circular motifs (produced from a pair of compasses) to more organic patterns, found in natural surfaces and structures (seen from different view points, ranging from microscopic, skewed or satellite views) which I arrange in my own way. The different viewpoints allow for infinite layouts of the same theme, mimicking to some extent the idea of fractals. The patterns also allow me to weave my aesthetic interests (which I show in the choice of materials, such as stained glass, resin, fabric, pigment, dutch metal, gold powder or wood) with my process of scraping through the top layer of paint, or pigment mixture, to reveal the surface beneath and to highlight the different materials used in the work.
To a certain extent, the idea of hiding and revealing layers or zooming in and out of patterns relates to my limitation of what I can and cannot see, whereas the irregular texture, imperfect marks or awkward arrangements in my work emphasize my own human mistakes.
In reference to my aesthetic interests, I have been exploring different patterns varying from circular motifs (produced from a pair of compasses) to more organic patterns, found in natural surfaces and structures (seen from different view points, ranging from microscopic, skewed or satellite views) which I arrange in my own way. The different viewpoints allow for infinite layouts of the same theme, mimicking to some extent the idea of fractals. The patterns also allow me to weave my aesthetic interests (which I show in the choice of materials, such as stained glass, resin, fabric, pigment, dutch metal, gold powder or wood) with my process of scraping through the top layer of paint, or pigment mixture, to reveal the surface beneath and to highlight the different materials used in the work.
To a certain extent, the idea of hiding and revealing layers or zooming in and out of patterns relates to my limitation of what I can and cannot see, whereas the irregular texture, imperfect marks or awkward arrangements in my work emphasize my own human mistakes.
CV
Education:
MA Fine Art (Desiree Prize), Slade School of Fine Art, London, UK 2010-12
BA Fine Art (First), Slade School of Fine Art, London, UK 2006-10
Diploma Fine Art, Blake College, London, UK, 2002-03
Exhibitions:
2012
Slade School of Fine Art Graduate Show, London, UK
2010-11
One Hyde Park, 3 large paintings on display in the show room apartment, London, UK
MA Fine Art (Desiree Prize), Slade School of Fine Art, London, UK 2010-12
BA Fine Art (First), Slade School of Fine Art, London, UK 2006-10
Diploma Fine Art, Blake College, London, UK, 2002-03
Exhibitions:
2012
Slade School of Fine Art Graduate Show, London, UK
2010-11
One Hyde Park, 3 large paintings on display in the show room apartment, London, UK