Disintegration Series I, II, III, acrylic and ink on linen, 70 cm x 100 cm, 2020.
Earlier this year suddenly everything was upended, normal life put on hold and usual projects postponed with the pandemic stopping everything in it’s tracks.
I had been working on a site-specific project with The London Wetland Centre, as part of Unravelled commissioning exhibition, responding to the wetlands environment and considering the impact of climate change, migration patterns from birds across the world and the unique role the wetlands play in combatting this.
The enforced stop made me focus on creating some new work, in part to alleviate my anxiety at what was a very stressful and surreal time. It forced me to re-think existing patterns of working and make use of my ‘she-shed-studio’ in the garden.
The Disintegration series takes a birds eye view of wetlands and maps as you soar across the site. These watery landscapes use pattern and colour to transport you to a fictive place.
The paintings refer to a constant state of flux, unsettled land and water, for unsettling times.
This painting was inspired by a story on the news where monkeys had grabbed Covid-19 samples. The uncanny events of 2020 and this story, felt like the natural world was changing the balance, reminding us as humans who was in charge.
The monkey is both monstrous and beautiful, partly camouflaged amongst the lush and green foliage. The face is obscured by patterns of its fur.
This was one of my very first paintings made early in lockdown. The title refers to how I felt both working in this way but also when it felt safe to emerge from our time of hibernation, at quiet times of the day and night, to walk outside, notice small things such as wildflowers, trees, the light falling on leaves. It was about those quiet moments.