Galleries we have worked with:
Galleries we have worked with:
"It really opened up to me how much my thinking of the world was so narrow, and that any view of someone else changes when you give them the openness that the sign series was able to offer."
“A-A’, B-B’, which will take place both in Glasgow and Turin, feels very much like a project for the age of Brexit – a divided painting, a divided car, two venues bridging an imminent divide.”
"They are hybrid figures. They are part Victorian, part African, part Dutch. They are an expression of the identity of a contemporary post-colonial birth."
“Although my work draws on Art History, the issues I’m interested in are generally rooted in the present.”
“The YBA thing wasn’t exactly a movement, but it was the last and closest thing we’ve had to a movement in recent times where a whole crop of artists emerged together apparently responding to a mood and sequence of events.”
"AI is just us, in aggregate—it is beautiful and requires rethinking how we arrange life."
“The rhythm of the colours seemed to pulse and move, creating a visual beat through the space.”
"I am not sure how the Trump phenomenon will manifest in my work but I do know it is impossible for anyone to negate it and its ability to submerge into our subconscious.."
“I certainly need a hug right now but a hug never lasts as long as I need it to. Take me back to the womb, shield me from all the chaos and nightmares!”
“Places like Frieze, it’s like an acid trip: the plastic surgery, the gross clothes, the money. I’m not making a judgement, I’m just saying “bloody hell can we all see this!”
“it is the first time that everything that surrounds the making of art has stopped which is both daunting, when this is your livelihood, but also a real focus puller on the primal human need to make art.”
"Painting feeds into the ceramic work through colour and pattern, almost as if the surface is trying to behave like a skin that wraps around an object."
"I'm working through ideas about displacement—a psychological and spiritual displacement, or rupture, where the coherence of everyday life starts to fall apart."
“The contrast between a cold exterior and human body language interests me because it reflects the world we're living in. Technology is becoming increasingly present in our lives, but we are still human with emotional experiences.”
“This is one of the things that I love about making art - that I can say more than I realize I’m saying, that my decisions in paintings can be read differently than I expect, and that art is a great place to play that game with myself.”
“They are sexless, zombified, completely exhausted, absent of soul, objects, bodies. But they are my bodies. My fictional family members, in a way. These are the ghosts I take with me.”
“My work addresses the parallels between civic incursions and womanhood as well as other communities across gender, ethnicity, and orientation. There’s a deep sense of embodiment for me with things people don’t necessarily notice.”
“It is the place where the fast, glowing, digital image slows down and becomes material. That transformation is still the part of painting that feels most meaningful to me.”
"A successful painting for me is one that seems familiar, comfortable, almost reassuring yet also slightly disconcerting or unsettling or with an odd sense of melancholy. I sometimes think of it as comparable to visiting a place where everyone you knew has long since gone."
"It becomes soft, touchable, almost teddy-bear-like, but at the same time unmistakably artificial. It has the quality of a copy of a copy. That contradiction is important to me."
"The physical process is actually the whole vehicle of meaning for me. I don't really see painting as something that can have a predetermined meaning and the end result will remain that way."
“I enjoy creating works that invite the viewer in. Using familiar objects creates an immediate point of connection and removes some of the pressure people often feel when approaching contemporary art.”
