The first cave paintings depict non-human animals and human animals, our relationships, and our interactions together using pigments derived from deceased bodies and from the land. The materials consisted of burnt bones, charcoal, and minerals. I also use pigments in my paintings to reference bodies in order to address how we have attempted to separate ourselves from the natural world to the extent that our relationships with non-human animals are fragmented and strained. My painting materials are beeswax, charcoal, natural and artificial raw pigments, and oil paint. My abstract paintings explore the ephemerality of human animal and non-human animal bodies and their interactions. I question what it is be animal, and if it is possible to reconnect with nature and other living beings by addressing our mutual fragility and mortality.
I aim for my gestures draw connections to all human and non-human animals of all genders in order to unpack our similarities. I aim for inclusivity in my art is by alluding to physical bodies through scale. My practice focuses on creating large works that are approximately the ‘wingspan’ of a human animal. First, I use my hands and nails to move or throw beeswax onto the canvases. These gestural actions create a low relief form. I then add charcoal and raw pigments onto these low reliefs to capture the traces made by my hands. At times these marks are reminiscent of non-human animals clawing or digging. The traces left by my body act as a kind of symbolic mapping of a relatable body, and invite viewers to consider their own physical engagement with our landscape and other animals. I combine colours that create moments of visual uneasiness to encourage the viewer to have a corporeal relationship with my body and my actions.