As I do not like to be constrained by a set format, I began work for Crucifixion at the Border and Father and Daughter in the Calais Jungle with charcoal drawings on heavy watercolour paper which I then painted and drew into layer by layer with a combination of different media, comprising water-based oil and pastel. Throughout this stage I freely changed the scale and dimensions of the figures in order to place them in a space that felt meaningful to me. At the same time, I reduced the size of my working surface by cutting it down in order to ‘compress’ and intensify the energy of the painting. I then ‘pressed’ the watercolour paper on panel with rollers and weights and continued to build the paintings, introducing collage which served to reference war, suffering and displacement and helped to build a rich and textured surface.
Journey, Mother, Separation and Letter
These four paintings are made from a combination of acrylic, pastel and collage. I keep a large tray on my plan chest full of discarded remnants of previous work, historical photographs, prints of artist’s letters and drawings, ranging from Goya to Kathe Kollwitz and small metallic and ceramic objects acquired over many years. Having these to hand allows me to build work quickly and instinctively. Although, my subject matter focuses on the personal trauma of individual refugees, displacement, war and genocide recurs throughout history. With this in mind, I have placed the work in ‘archival’ boxes.
Towards the Bridge and At the Border are painted directly onto canvas using a combination of gesso mixed with powder paint, acrylic, gouache and charcoal.
