anticipation, contemplation & joy
These works have been created for display in boston tea party, honiton and can be seen in the main cafe
Anticipation
Displaying influences from aNTONI TAPIES and Michael Craig-Martin, ‘Anticipation’ uses A palette of baby pink and blue to represent the babies and young children who frequently accompany parents and carers to boston tea party
The dot-to-dots resemble those of activity sheets given to entertain children when they visit: young minds guided and creating. HERE the dots SYMBOLise the anticipation of people arriving, completing the space that waits expectantly
we see the table from below, drawing attention to the often-overlooked activities that occur here, where items are stowed, legs twitch and dogs lurk as babies in pushchairs rest or sleep
Who will arrive, What stories will they bring with them? The void waits to be filled
contemplation
‘Contemplation’ IS a work in black and white, reminiscent of chic Parisian cafes, that looks through the eyes of a day-dreaming coffee shop guest
As the guest’s mind gently drifts - mesmerised by the heavy texture of the wooden table, the heart-shaped cappuccino art inverTed to negative - the cup is seen to LEVITATE, rotate and flip, allowing its content to escape
The work is painted and SCREEN-PRINTED using acrylics on softwood plywood, it’s undulations visible beneath the surface and highlighted by the letratone* wood grain pattern
[*letratone is a mostly obsolete pre-digital method of adding patterns and tones to graphic works, consisting of printed sheets of translucent adhesive paper]
joy
‘Joy’ depicts the bustle and interplay of groups of visitors to boston tea party, utilising the exploded shaped elements of boston tea party’s reusable takeaway cups
The DISSEMBLED pieces drift in the air, like snippets of confetti conversation. viewed as if from above, the shapes resemble tables that swirl across the floor in an intricate dance
Utilising the artist’s favoured letratone, a selection of patterns and colour tones highlight the SEPARATION and CONNECTIONS between groups, whilst the MISALIGNED layers and digitised edges of the black layer draw attention to aspects of the artist’s process