Harnessing the contemporary aesthetic of mediated visuality, whilst acknowledging that painting is, equally indebted to art history, her work acknowledges the influence of the screen-paradigm through notions relating to painting as object/surface and the perception of interactivity, relating to a virtual form of tactility. Traversing the paradox between the prohibition of touch in relation to digital technology and art – and an erotic’s of painting, interactivity relates to seduction: a correlation that enacts the ‘erotics’ of painting, and seeks to engage the viewer immediately in a tactile participation, close and yet distancing at the threshold of vision and touch, while simultaneously providing the viewer with a variable experience of scale.
Structurally and aesthetically functioning along the lines of a screen, these paintings aim to incorporate some of the same spectatorial conditions established by a new screen paradigm, such as notions of movement and fluidity, arrested and caught within a painting frame, and the utilisation of a type of perception based on the fragmentary nature of vision.