I love the literary quality of Owens’ works.
Owens’ dreamscapes blend folk storytelling natural yet surreal colours and compositions. Similar to my works, she seems to lean into the qualities of her chosen mediums, painting in thick layers. To me, these qualities personify what I imagine as modern oil painting. Schutz's paintings are rich in colour and soft, almost pastel like textures. I find Schutz's generations of subject and composition quite inspiring. Schutz also uses a mix of conventional formal elements and more surreal elements, such as having these absurd characters on top of a conventional landscape plane. I love the way Schutz creates characters and compositions, blurring the line between humour and horror. Anj Smith's work is also highly literary, and has a sense of world-building that I really enjoy. Smith uses a variety of synthetic compounds to build up their desired textures. Their works would be a nice juxtaposition with her different choices of materials. I feel Anj smith occupies a similar contemporary territory to me distorted landscapes that explore the environment through heavily conceptualized material qualities. His darker works are probably my favourite, and the ones that I would choose for my exhibition. The recurring composition is also something I enjoy, showing that repetition can still be varied with an eye for detail. I hope to have a similar level of attention with my materiality. The effort he went to with creating each layer of paint from a variety of mediums makes these works deceptively simple. What I love about Rothko is his attention to materiality, simple but powerful compositions and playing with layers. There are also similar themes of a less anthropocentric sublime, and the dynamics between humans and nature that would make his work an excellent fit. His use of energetic gestures and dissolution of distinct layers are like my paintings. I must choose Turner as his works have been a significant influence on all my work to this date. My Art Family, artists who I could see my work being exhibited with Convention can create the perfect space to emphasize that which is unconventional about my works. I feel these strategies maximize the effect of the materials. Therefore, I gravitate towards painting and drawing on somewhat conventional, flat supports. I would say that my presentation strategies are informed by the materials. This is for both formal reasons and an ethical desire to limit my use of harmful/environmentally damaging substances. The materials I use are quite integral from a conceptual perspective, and their unique qualities are essential to the creation of the works. I feel my practice centers around analogue qualities and natural textures. My general field of enquiry is at its broadest the gaps between light and dark, and dissolving those gaps. Revisiting this, I would say that my works are about two things gaps and personality. However, while navigating ideas, I also want my works to ask questions as well as offering interpretations. For this reason, I think philosophical development is essential to my practice. I also want to create works that navigate some quite difficult/intense ideas in an intelligent and nuanced way. Just as I create my works in conversation with the mediums, I want the mediums to be able to talk to the viewer. I want to be an artist with a recognizable style, but more than that I want to be an artist whose works possess a unique personality. I would say I’m speaking from the perspective of someone trying to create and understand in a way that forgoes any expectation of understanding. It is.Įileen is also going to be starring in The Crucible in the National Theatre.Īnd just because, well. When Eileen said in the interview it was an angry, sexy play, she was not joking. Side note, which was obvious from the trailer, lots of hot scenes. But Walmsley pulled off a hell of a performance on that stage. Not sure to what extent that is because it's, well, him. It's hard to love him (also knowing what he does in the second half), but it's also hard to hate him. Clytemnestra loves her husband but hates herself for it, Agamemnon is obsessed with trying to win her back, but there is only as much rejection as his ego is willing to take.
I am not too familiar with Marina Carr's writing and there was an obvious reason I went to see this in first place, but this was so so much more that I ever expected. The Girl on an Altar play was seen by my eyes.
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