My practice is informed by my experience of movement through multiple environments. By recording fragments of my journeys through drawing, both in real time and from memory and photography explore a personal vision of this experience. I build collages from my imagery as source material for paintings in order to create new and impossible landscapes. I hope to convey a sense of continuance and a personal intimacy of the experiences in these paintings.

Through these impossible landscapes, I explore the landscape in motion and my sense of this being one of the most common landscape experiences in modern society. Using my own perceived understanding of this experience I aim to represent this juxtaposed reality, an environmental reality, which is dystopian and encapsulates my own personal experience of travel and place.


When I first started this project my dissertation was still fresh in my mind, I was really interested in the subject of landscapes. I began by picking out the landscapes which I have recorded throughout my life, the Snowdonia mountains became the most interesting to me so I began there. As the work progressed I began to question how I could portray a modernised landscape, I thought about how in modern society we most see the landscape. The many road trips me and my boyfriend have been on inspired me to think about the landscape seen through a car. Specifically, the trips going from my home county of Shropshire to my university City of Cardiff. The trip is long and takes you through rural hills, I was thinking about how the car window abstracts your view of the landscape and you only see just fragments of these landscapes as the car travels. I made many sketches and took lots of photographs which were showing static images, these images helped me to move on with this project.

[1]  Drawings    &     Drawings

I realised I was being too controlled and struggled to ‘loosen up’ when painting. I knew I wanted to make a landscape which portrays many scenes, not just one static image. After consulting my tutors, I made the decision to create collages from the images I had been doing along with cut outs. It was a really fun part of the project and allowed me to not overthink the process too much and just do as I felt. I made the decision to paint with oils from these subsequent collages which created a juxtaposition of scenes, motifs and just general experimentation.  I wanted to use oils because it was still quite early on in the term and I wanted to try it out and hopefully expand my knowledge of paint in general, because of oil paints intensity of colour it inspired me to think more abstractly about my colour choices.

[2]  Collages

The oil painted landscapes I was creating were experimental and focussed mainly on colour and form, they are surreal and dreamy which was something I wanted to portray as the landscape seen through a car window is continuous and abstract. Using my drawings and photographs I was piecing together a landscape which conveys many trips and feelings I felt whilst travelling. By this, I have shown my feelings through intuitive colour choices which are often bright and joyous.

As this progressed it was time to think carefully about the degree show and what exactly I wanted to present for it. I decided to order 6 wooden boards, I wanted to use wooden boards as I felt it was the best foundation to use for mixed media. I chose to use 6 because I wanted an even number and because of the time I was given to finish it felt doable, I wanted these boards to sit side by side and show an elongated surreal landscape portrayal. I also decided that acrylic would be the best medium to use because my skill with oil was not as strong, and I didn’t want drying time to alter my work. I thought about what motifs I wanted to portray on these boards and which figurations seemed most important to me, the ongoing hilly landscape was something which I wanted to carry on throughout these boards. I wanted these boards to act as a series so on some there is an ongoing theme of telephone poles and foliage seen as I am taking these trips.

As I was painting these boards, I decided to create 3 daytime landscapes and 3 nighttime landscapes. This helped me to differentiate the boards and show how the landscape changes as your vision changes in the darker hours. I was struggling to create something I enjoyed looking at and decided it was time to take a trip home for inspiration, this really helped as I was able to confront the feelings of ‘going home’. I was looking around at home and I pinpointed imagery which stands out most to me about home, my dad’s iconic blue shed became a point of interest to me along with my mum’s abundant pots in the garden. I was thinking about how I could incorporate imagery of home within these landscapes, I thought about how I could use my imaginations of home alongside the actual landscapes. By combining the percieved and the imagined I was now creating more abstracted portrayals of landscapes which show the multiple visions, through the car passenger window and through the eye of the mind. This led me to feel more confident with what was going on my boards and gave me a fresh idea, from doing drawings and taking photographs I was able to incorporate these onto my boards.

[3]  Imaginations of home

As the degree show was built and I was given my space after doing all of the jobs to make sure the space was clean and tidy and ready for my work, I began putting up the wall cleats for my boards. I wanted to use cleats as they are strong and give the painting a slight elevation from the wall, this helped introduce a dreamy and surreal experience when walking through the show. I was wondering how I could enhance this further, I noticed that the elevation from the wall gave a shadow from the board itself. I experimented with facing my paintings towards the wall to see if the colours could reflect onto the wall behind, cadmium yellow was the strongest and gave a warm glow and I knew that this was what I wanted for the show experience. I painted the back of my boards yellow and concentrated on the actual putting up stage of the degree show.

[4]  Back of boards

Initially, I wanted my boards to sit flush side by side, butted together to create an ongoing continuous landscape. After doing this, I realised that the wood had warped slightly even after I had made frames for the back. As frustrating as this was, it made me rethink the amount of gap space I wanted in between each board. I decided a small gap would be best and the most unnoticeable, this also led me to notice the edges of the boards which I had neglected. I thought about how I could hide the messy and scruffy edges, because of the intensity of colour I decided a muted light grey would look the best. This really did make a difference, they began to look more professional and I actually preferred the small gap decision.

[5]  Final show 


[1] Peter Doig creating dreamy and surreal landscapes, experimental and evoking inspiration for the start of the project.

[2] Gillian Ayres exhibition being confronted with large scale abstracted paintings inspired me to think about the exhibition set up.

[3] Gerhard Richter keeping my photographs and drawings in order, so they are in categories/chronological order and aesthetically pleasing to look at.

[4] Barbara Rae abstraction of colour, inspiring me to enhance my colour choices.

[5] Jonathon Casella thinking about the presentation of the boards for the show, the shadows and reflections.


Jonathan Casella

This contextual reference highlights how the presentation of work can be affected in an exhibition space. Casella’s paintings are on thick edge canvases, this is interesting because once the paintings are presented onto the wall the shadow of the canvas becomes almost as important as the paintings themselves. I believe that this technique elevates the artwork which, in turn, creates a deeper sensorial experience when viewing the artwork in an exhibition space. The experience of walking through an exhibition is as important as the works themselves, the work’s presentation should be parallel with the concept of the work itself. Casella’s paintings are similar to mine because of his use of colour and collage type technique of painting.

This inspired me to think more deeply about how my use of cleat fixations could adjust the aesthetic of the overall presentation. The cleat allows the board to hover subtly against the wall, which leaves a sort of shadow. The shadows are in no way as obvious as Casella’s but, I believe I can enhance this by introducing colour onto the back of the boards. I have hyperlinked a later blog post which explains my thought process more clearly about how I adjust this idea to make it my own;  Blog Post

Jonathan Casella, Once Hidden in Time, Twice Forgotten Until Found Near the Pressed Flowers, 2015, acrylic on panel, 13 x 10”

Jungle Jazz

The Silly Wolf exhibition


[10] Allison Miller at Susan Inglett

This contextual reference has been included on my blog because I enjoy the overall view of the exhibition space. It is simplistic and the use of white space around the artworks helps this. For my exhibition set up, white space will be crucial as it enforces a large background to which the artwork will sit on. I believe that because my paintings hold busy and colourful formations, the use of white space around the artwork helps to promote the reflection of colour from the back of the board.

Installation view of ‘ALLISON MILLER: Speeds’ (2015) at Susan Inglett Gallery, New York City



[7] Amy Sillman

“Painting is a physical thinking process to continue an interior dialogue,” Amy Sillman states, “a way to engage in a kind of internal discourse, or sub-linguistic mumbling…”. – Saatchi Gallery

I have decided to use Sillman as a contextual reference for the field module because I was immediately drawn to her method of standing her artworks on these plinth-like benches. It is something I have never seen before in a gallery space, but I think it’s really interesting and playful to show boards in this way. I believe she has done this for added support as the boards are formed all around the gallery room, I wonder why she decided to lean them against the wall on little benches rather than just on the floor. Was it because she wanted them to still look elevated? The way she has presented her work can provoke questions like this, which is why I probably wouldn’t pursue this method in my own work. I am also interested in the way she has presented the boards alongside each other all around the room shares similarities with my own presentation, I will be playing around with the gaps each of the boards will possess. This has led me to reconsider the size of gaps in my exhibition set-up, I am wondering whether there should be any gaps in the presentation of my boards. I feel that if there were no gaps, the overall set up would be more immersive and would serve as more of an experience as you walk alongside the boards. Because I am portraying the continuance in a journey, showing the boards in this way could strengthen that concept. I will be playing around with these ideas when it comes to the exhibition set up.

Screenshot 2017-04-17 14.59.14.png

Screenshot 2017-04-17 15.01.48.png

[6] Kate Shaw

I found this artist recently on social media, I was instantly attracted to her use of colour whilst creating these dreamscapes. They are idyllic and mesmerising and I think they are os beautiful. Here’s some background I have gathered about her work;

She paints collages similarly to me, this enhances colour and creates an abstracted and surreal landscape interpretation. Her landscapes deal with the tensions and dichotomies in our depiction of the natural world and our relationship to it. Shaw experiments with the movement of her paint and mixing ink. Her paintings instigate natural phenomena such as lava, landslides, or avalanches as it is being poured and mixed. Once the paint is dry, she looks within the paint pour for shapes such as tree branches, cliffs or mountains, to cut up and use in her collage. The collage is finished with airbrushing

The way her paintings are presented in a gallery space are simple which works well because of the vibrancy of her paintings alone, she has carried on the painting on the sides of the board which is not something I wish to pursue. I think block colour would be more effective in my work. The last image shows her work in a dark space with lights illuminating the paintings. Although it looks effective, it would not fit with my concept opposed to her landscapes are dreamy and mythical which correlates with the light sources.

Image result for kate shaw exhibition

Image result for kate shaw exhibition

Image result for kate shaw exhibition