Picasso’s concrete and metal sculptures made in collaboration with Carl Nesjar and Lionel Prejger, kick-started the beginning of my project. Looking at the simplistic cut out shapes of Picasso’s paper models, which his collaborators then transformed, showed me the potential in paper as a medium for my work and how I could develop from it. Having previously researched and engaged largely in set design and architecture, these sculptures showed me a way I could translate these interests.
My original plan from the paper sculptures I made was to move into more solid materials, but being in lockdown I could not carry this it out at home. This pushed my work into painting and photography, finding that my paper sculptures could not stand on their own as finished pieces of work.
Looking at artists such as Bob Thompson and the Futurism movement, experimenting with colour has become an important feature. Developing this has been the most successful outcome in my work.
Sculpture is still a key part to this project; even with the work I’m largely producing being two-dimensional; it is a very important influence. Looking at the prints and drawings Naum Gabo made of his sculptures, I have strived to keep that same sculptural quality in my paintings. I see my art developing further with film and a more minimalist abstract style with my most recent interest being in the early works of Agnes Martin and her more subdued palette, along with the Taos Modernists.
In the next stage of my education looking into different materials and making sculpture will be important. But this time has allowed me to investigate the incorporation of both painting and sculpture together. This has been valuable and introduced me to range of art movements and artists that have greatly impacted my view on both art forms.