Applying layers of paint on top of my photographs changes the meaning of the original image, bringing an immediate renewed observation to the work. I’m questioning the validity of the photograph by challenging its original narrative, raising a whole new set of questions and allowing the viewer to navigate between the two dimension surface of the photograph to the three dimensional depth of the painting.
Painting on my photographs is a subconscious response to the natural colours that were in my mind when taking the original photograph. I am not fully aware of this during the painting process. I work in an almost meditative state, adding layers of paint instinctively. Sometimes I add a layer of paint to the work and then photograph it again as a whole or as a detail and then paint another layer again in an almost endless stream of possibilities and evolving compositions.
In the world of fashion and beauty photography, I often find myself striving for an ultimate perfection which in reality does not exist. By painting abstract shapes and gestures on my photographic images, I feel that I challenge these notions of ‘perfection’. The representational imperfection of the painting is a satisfying departure from the rigid constraints of photography. Ironically, this makes the finished image feel perfect to me.