Formally a fabric buyer for Jaeger in the fashion industry, Becky is now based on the edge of the Blackdown Hills in Somerset and has pursued a career as an artist for the past ten years.
"I would spend hours on end, fascinated by how turning the colour wheels in my 'Pop-Up Colour Book' would transform one colour into another; like magic, the clear translucent magenta, yellow and cyan had the power to transform the coloured patterns beneath - yellow became red, blue became purple - it was truly captivating!. That was when I was six years old, and when I discovered that paint could yield the same results with glazes or tinted resins, my fascination was re-ignited. Colour and surprising visual contrasts have been my passion ever since."
“Contrasts - the organic with the artificial, the intuitive with the reasoned - all of it becomes manifest through shifting visual language on a canvas”
I am inspired by the juxtaposition between our urban and rural landscapes and the often unharmonious visual clash it provokes. This manifests in my painting as an exploration and narrative of contrasting visual language - dissimilar line, texture and colour converse on the canvas in surprising and sometimes challenging ways. My work is often non-objective in nature; instead I work intuitively on the canvas employing a broad range of media including resin paint, which by virtue of it's unpredictable nature affords the opportunity to experiment and imbues the work with a sense of spontaneity. Each mark I make elicits another, and rather like a conversation, the painting process is a search towards balance and an ultimate conclusion.
Early on in my career I recognised the potential of accidental happenings on the canvas, to the point that a painting now feels incomplete unless an extraordinary occurrence has taken place. There is something very honest in the expression of a painting that contains genuinely intuitive working and in my experience accidents are an opportunity to force a more creative mind-state. Consequently, although I consciously balance form, texture, colour, line and tone, it is this timeless truth of true creativity and the intuitive that I strive to express and retain in my work.
The medium of resin paint is still relatively unexplored. My use of industrial resin paint is a deliberate attempt to force an intuitive way of working.
When Jackson Pollock used thinned enamel paint for his pieces, the speed with which the paint ran onto the canvas would have been too rapid to process in a wholly conscious way, consequently he would have relied heavily on his intuition. In a similar way, I have chosen the medium of resin paint to work with, as it is often unpredictable in nature. Not long after a pour of coloured resin, I begin to rely on intuition for the progress of the painting.
My route to intuitive and truly creative working is to use unpredictable media to force accidents - to paint as close to the edge of control as possible. Every painting begins without a thought for what it will become, and can relate to Picasso's statement
"Every time I begin a picture I feel as though I were throwing myself into the void. I never know if I shall land on my feet again”
I have always been fascinated by capturing the energy of paint, or any liquid in a static state - photographs of water mid-splash, or of exploding colour dissolving into in a clear tank of water.
Quite by accident, after tipping up a pot of semi-hard resin paint, I realised that I could capture something of the unpredictable energy and nature of paint - the resin had frozen in a semi-poured state.
To this end, my 3D work has been inspired by trying to capture the very nature of paint - in all it's beautiful unpredictability.