Artist's Statement
Clare graduated in Fine Art with First Class Honours from Arts University Bournemouth. She specialises in contemporary expressionist painting: working primarily with oils and depending heavily on use of colour and gesture, size, and scale.
Her work flirts with the cusp of figurative and abstract. The conscious blurring of the figure, often starting with the female form, can express the overlooked and invisible elements in life, art, and society. Themes drawn from both contemporary and art historical issues are considered from the perspective of both painter and painted.
Inspiration can come from classical works - how these can be revisited in the light of changing values about the world of artists themselves, as well as their subjects.
Key influences include contemporary artists Cecily Brown, Rita Ackermann, Amy Sillman, and the legacy of painters at the centre of modernist and expressionist painting development, including Cezanne, Matisse, Soutine, DeKooning, Diebenkorn.
How paint can create marks, layers and texture that combine its unpredictability with physical manipulation underpins Clare’s treatment of figures and their relationship with the environment and landscape.
nspired by current affairs and art historical references that may seem to be at odds, I use the figure, as a medium for questioning issues of invisibility: both in contemporary society and in the patriarchally dominated western canon of art history.
Clare graduated in Fine Art with First Class Honours from Arts University Bournemouth. She specialises in contemporary expressionist painting: working primarily with oils and depending heavily on use of colour and gesture, size, and scale.
Her work flirts with the cusp of figurative and abstract. The conscious blurring of the figure, often starting with the female form, can express the overlooked and invisible elements in life, art, and society. Themes drawn from both contemporary and art historical issues are considered from the perspective of both painter and painted.
Inspiration can come from classical works - how these can be revisited in the light of changing values about the world of artists themselves, as well as their subjects.
Key influences include contemporary artists Cecily Brown, Rita Ackermann, Amy Sillman, and the legacy of painters at the centre of modernist and expressionist painting development, including Cezanne, Matisse, Soutine, DeKooning, Diebenkorn.
How paint can create marks, layers and texture that combine its unpredictability with physical manipulation underpins Clare’s treatment of figures and their relationship with the environment and landscape.
nspired by current affairs and art historical references that may seem to be at odds, I use the figure, as a medium for questioning issues of invisibility: both in contemporary society and in the patriarchally dominated western canon of art history.