Synthesising from a variety of sources, this body of work plays with discrete motifs to inform a personal pictorial language. In this gestural dialogue, these motifs are not iconographic, but instead part of a choreography that is predominantly concerned with structuring a composition.
The paintings stand to engage with the physicality of the medium itself, visually documenting the interactions between myself and the painting, which often stem from a failure to represent an observation in the way I had intended.
Any preconceived expectations of the work are overridden by the unpredictable nature of material. The spontaneity of gesture creates moments of utterance and difference in the articulation of forms, which continuously change as they interact with one another.
Thinking visually through exploring the relationship between processes of drawing, printing and painting, I encourage the motif’s ability to poetically transform. As figurations emerge and disappear, although forms appear to be ambiguous, they are often referencing a personal reality or idiom where parts of the everyday are isolated.
When the filter of memory interrupts physical observation, objects are divorced from their original context, often resulting in a space of liminality that echoes the narrative between the physical and psychological spaces that I inhabit.
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