I am a contemporary painter based in Sydney, Australia, my practice is defined by a deep engagement with the physical and psychological dimensions of portraiture and the figure, working on large-scale canvases and cardboard, I produce work recognized for its visceral energy and commanding presence (as recongnised by the witches that themselves my sisters ofc). This energy is informed by my lived experience with schizophrenic episodes, which I navigate not as a limitation, but as the primary sublimatory lens through which I perceive and document reality; one could say it is an intersection of the Jungian shadow and the Lovecraftian sublime of sorts, regarding the artistic phenomena of which i deliver, but it would never grasp what is truly occuring. (and i am most definetly going to fail to do so myself further down within this literary piece.)
Nevertheless, my technique is characterized by a high-intensity application of oil and acrylics, utilizing thick, impasto brushwork to create a swirl like sense of imprisoned movement, energy, vitality, and explosivity, an emit-ation and a cage, of sorts, whereby the canvas becomes a site of psychological haunting and transformation via navigating the tension between vibrant color palettes that find themselves infront of the brush, of which creates at those afformentioned senses, akin to an entrapment of an explositivity of an cosmic energy; with said color palette, being dominated by urgent reds, dark blues, and luminous yellows that distort and shift the features, in a method unlike all the traditions that came before it in order to explore this explositivity, this heat, these raw emotional realities beneath the surface of existence and identity, as given to us by the cosmic absurdity in which we inhabit;ja.
Intellectually, my work is a response to Hannah Arendt’s concept of the "banality of evil." I am interested in how the "normalcy" of the everyday often conceals a profound lack of thought,empathy and intuition, etc. and hence, in my portraits, distortion is an act of defiance against this banality; it is a refusal to be "flattened" by a hypernormal-society that prioritizes comfortable uniformity over the complex, often terrifying sensations, projections, anxieties, negations, enforcements, spooks and occurences/happenings that accompany the notion of humanity annd living itself, individually and collectively, and thus doing so, emits to Camus concept of rebellion against the absurd, yet another intellectual link, and thus we could say that the paintings inhibits another camusian principle, that of the artist being the witness of his period, yet another concept.(bites thier nails)
Hence with a prolific output and a consistent visual languages, my work balances technical mastery with raw, unedited expression, whereby, each piece is an exploration and containment/embalment of Existence itlself, and thus it becomes a statement, and a mirror, of a kind, a simulacrum (buzzword) of existence, thats purported to act as a powerful focal point, whereby as an caged aura, and entrapped esssence, it becomes a presence in itself that forces a confrontation with an indifferent, mysterious irrational reality that is as intellectually rigorous as it is viscerally felt, to hopefully inflict within us the spark of our humanity.
(i've existentialised about my work to much and thus i feel that am to pay greatly for this sin)