Evolution , 2022
300 GBP

Actual size: 42 cm x 59 cm

The works are depictions of vibrant light shaping a figurative mystery form. The light could be interpreted as a light source guiding to a specific purpose and can be represented as good and bad as the unknown can attract a participant by admiring or attracting from the light vibrant colours. The figure is shaped to be answered whether good or bad the background is a shade of blackness void that gives a sense of beauty to the light source and yet gives shivering horror imagery is dark and nothingness that can reflect on dreams and nightmares vision not knowing what it could be as visualize as a glimpse.

As an artist I enjoy using a variety of media, often experimenting with distinctive styles and tones. I use photographic images as inspiration for my paintings. I use visual images to relate to day-to-day issues that are often hard for people to express and explain, such as mental health, diversity social anxiety, and how people reflect on them in their lives. I create a non-singular vision; each work could relate to a concept or theme, which could equally stand on its own.

My ideas are grounded. However, my imagery is dimensional so others may see this as fictional. These ideas could be seen as horror, fantasy, or surrealism. I develop them further using materials, techniques, and skills that can reflect personal life and growth and how people deal with them. The technique used in my latest work gives it a cinematography look, inverting and installing the images to some classic sci-fi and groundwork movies, with imagery from the modern day. My work has a sense of being both finished and unfinished, giving the impression I cannot identify what I am seeing and feeling. I use distinctive colours and light or dark tones to distinguish myself and my surroundings.

Limitations, flaws, faith, and uncontrolled emotions are specific interests of mine, as well as my use of a variety of non-conventional media including materials and the process of the art techniques.

Exposé par :

The FLUX Review

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