"The work that I have produced this year is based on the theme of the 'domestic object' in an interior still life. I have worked using lithography and photographic processes to create a visual response to the domestic interior, investigating relationships between objects and their function that are commonplace within the contemporary home. I have made my own interpretations of their relationships not only with each other, but also with the room that their presence determines.
I have used the dimensions and the dynamic of the paper to act as a metaphor for the room, the composition and juxtaposition of the selected objects creating a 'living space'. Not only in my prints are the relationships between different objects important, but the negative spaces that also hold meaning within the room. Although these prints depict living spaces there is something inanimate and clinical about their representation.
This is something that I wish to express in my work, to give a view of life which essentially is an idealised view of today's home with connotations of commercialised product design. Thus herein lies an irony, these modernist objects exist in an ideal world yet they are uninviting, like exemplars of the unattainable, rejecting the viewer from entering past their reflective surfaces. Despite being objects with which most of us in the Western World are familiar, these images have become untouchable, unattainable, and unaffected by human interference.
Many elements of the printmaking/image making processes have been used in investing meaning in the work. The use of subtle repeated colour sporadically opposed is a device which has enabled me to give unity to the piece but then as necessary cause an uneasiness within the structure. The method of transfer printmaking is a method of drawing/creating shapes that imparts a unique quality to the image that also enables me to mediate them through a common visual code. The inherent transparent nature of the trace print adds to the effect of unattainability, with a sudden and occasional opaque accent adding a sense of presence, distance and physical reality, an anchor within the work. A photographic or linear element within the context of monochrome forms add a contrast and another dimension to an otherwise stylised and systematised piece.
For me the still life has to become so much more than a representation of a selected set of objects. It has instead become an exciting foreground in which to express and explore not only views on my own personal aspirations to achieve a so called perfect domestic space but also how contemporary society has varying and contrasting requirements. On the one hand there is the human need for comfort and security within our homes. However there are also market forces at work within our lives that lead us on to believe there is a need to demand constant advances, changes and modifications to even the most basic and functional of objects. Domestic objects are no longer those without status, but instead have become symbols of cultured living and the objects of desire. Through various forms of advertising, we are bombarded with images of what we are shown as desirable. The ideal domestic interior reaches perfection through clever advertising and glossy imagery in magazines and on billboards. However these images illustrate what is simply a fictitious world where everything is slick with often heightened colour and digitally refined forms. This is not a real world, but it is one that we as a society have created in order to sustain an economically fuelled culture. I have to an extent mimicked this form of representation in the way I have made my prints."
She studied BA (Hons)Fine Art Printmaking and has since exhibited all around Scotland, including the Royal Scottish Academy in 1998.