In my work I aim to situate the immense subjectivity of human consciousness in a world built by economic and political agendas; exploring and critiquing an ideology that can seem as firmly set in our minds as the natural world around us.
The figure has been a constant in the history of landscape painting. Historically their presence has marked industry and productivity as a result of an aristocratic art market eager to have depicted their appetite for growth and development. However in this there lacks a contradiction: a desire for a representation of the rural working class while simultaneously avoiding any acknowledgment of class consciousness. This hypocrisy has for the most part has lead to the landscape figure being portrayed as either automata, content or toiling in repentance for original sin. The significance of this uneasy depiction is evident not just throughout art history but the landscapes past construction as well.
In my work I’ve attempted to reconcile the often forgotten traditions and context of landscape painting with the sensory and emotion focused approach of my previous practice. With a vaguely satirical use of red to indicate focal points and form, the figure connects my practice and its engagement with the landscape with an art history and context.