Travel is an essential source of inspiration - it has become an action that is comparative to a ritual, which fuels the work. Driven by a curiosity - an intrigue - an exploration of the unknown and yet a familiar action that is repeated - similar in essence to that of a pilgrimage. "The pilgrim abandons his customary way of life in order to strengthen his own identity, to become less dependent on
Angela Vetesse - on Hamish Fulton Walking Artist. Many of the ancient temples and sites researched and experienced remain important pilgrimage sites today. There is no attempt to recreate a pilgrimage but an association to the action - to the ritual - my ritual of travel. The Hoysala temples in southern India and Angkor Wat, Cambodia, have been the most recent areas of focus.
Although I am using specific symbols (recognisable imagery) I am not in pursuit of a single idea. The work tends to be a reflection of our contemporary free for all, borrowing from a number of cultural sources.
In the paintings there is an underlying influence that derives from the sarcophagus form which initially manifested itself as a ghostly cocoon like shape, reminiscent of the human body - a shrouded figure. This form, over time and the evolution of the work has transformed into the suggestion of something interred of the layers of the land - relating to Egyptian tomb architecture with its suggestions of transcendence to a higher experience of a kind, but also to a time or a place upon which foundations are built - Cultural evolution - using the building blocks of the past to grow and develop. As each culture comes and goes a fragment remains, tangible or otherwise, that forms a part of the new society / culture.
The imagery in the work remains ambiguous - this ambiguity allows the viewer to enter the equation of the journey of discovery. It becomes the viewers' role to reflect upon the form and its place in this culture / society.
The Asian influences.
Early Hinayana icons of the Buddha were represented as a pair of empty footprints, the message: - He has passed this way, but he has gone beyond.
It is concepts like the above that draw my interests towards Buddhism and the images of Buddhas in all various states and forms. Buddhism is adaptable to differing cultural values and societies and the sense of perpetual evolution in Buddhist thought mirrors my personal response to life and art, constantly changing, building and growing. It is not though, so much the religion that interests me, as a personal response to the visual. The image of the buddha holds a fascination for me that is inexplicable in its strength.
My representations are usually in a transient state - hovering between the physical and metaphysical, but always with a sense of serenity, strength and beauty.
Within Hindu art, unlike Buddhist art, the human form is depicted as curvaceous, voluptuous and filled with potential motion. The dancing figures have been added to the visual language and are intended to be sensual. The forms are mythical and out of reach, performing what was once an integral part of temple ritual and worship.
The presence / absence element derives from my interest in relics, in things being revealed or discovered, in the act of discovery, which for me has manifested itself in the ritual like action of travel. Every piece of work and element is a journey taken - they are vehicles of transcendence, a place or situation revisited, with the added element of memory. Different aspects of the journeys become apparent in each set of images, various paths are followed and often retraced as new insights are gained on every return.
I have a B.A.(Hons) and an M.A. in Fine Art specialising in printmaking. I have been involved in an artists exchange (printmaking) in Plovdiv, Bulgaria and a years printmaking residency in London. I exhibit regularly in London and internationally. read full statement
2005 - Artist in Residence, The Cobden Club, London
2003 - Prints by Faye Haskins, Mary Ward Centre, Central London
2003 - Suffolk to Sinai, The gallery@oxo, Southbank, London
1998 - Concrete and Codes, Galerie Not, London
1997 - Surfaced, The North Bank Gallery, London
1996 - Foothills to Ice caves, North Westminster School, London
2010 - Untitled Art Fair, Chelsea Old Town Hall, London
2009 - Untitled Art Fair, Chelsea Town Hall, London
2008 - Untitled Gallery at the Adam Street Club, The Adam Street Club, London
2007 - Great Western Studios Open Studio, Great Western Studios, London
2007 - GWS Open Studios, Studio 7, Great Western Studios, Great Western rd, London, W9 3NY
2007 - Karen Taylor Contemporary Art, Affordable Art Fair, , Battersea Park, London
2007 - Untitled Gallery, Adam Street Club, , Adam Street, London
2007 - Untitled Gallery , The Adam Street Club, Adam Street, London
2006 - Great Western Studios Open Studio, Studio 7, London
2006 - The Great Art Fair, a new global series of live art fairs, Alexandra Palace, stand D20, London
2005 - Contemporary Art, Cavaliero Finn, The Old Barn, Sandydown, Stockbridge, Hants SO20 6BY
2005 - 'Landscapes', Karen Taylor Gallery, Twickenham
2001 - City of Westminster Arts Council, St. Martins Gallery, London
2001 - Raw Canvas, Aldwych Tube, London
2000 - New Boundaries, Hortensia Gallery, London
1999 - Gathered Essentials, Hortensia Gallery, London
1999 - Great Western Studios Open, London, annual - summer and christmas
1999 - Group show, Gallery Utraque Iungo, Vienna, Austria
1998 - National Open Print Exhibition, The Mall Gallery, London
1998 - Vital Art 98, The Atlantis Gallery, London
1996 - Boxed set of prints, Hardware Gallery, London
1996 - City of Westminster Arts Council, St. Martins Gallery, London
2007 - Blackfish Capital, Saville Row, London