Interiors and space 

When documenting interior spaces in which the viewer most aware of, the artist is immediately acknowledging a visual stimulus to which most are fortunate ton experience and thus creates a familiarity to a combination of objects arranged within a space. This forms a visual representation of what a space could be. In depicting a table with a vase filled with flowers, set against a wall on the right hand side of a painting, the artist manages to refer to the viewers own past experiences of such an object, or a direct moment at which such a combination of objects interacted directly with their lives. Through this the viewer holds on to not the image of an object depicted in paint, but to the experience or memory of their own past. This moves beyond the visual imagery when the space as a whole begins to slip between coherence and more dream-like arrangements of half-imagined spaces, as the viewer has to visual navigate the space, allowing their perception to lead the way, which has been purposely disrupted by the painting itself. By allowing the painting to shift slightly beyond that which is known to the viewer, the humorous and often playful depiction of nostalgia associated to an interior space questions how a collision of experiences results in the creation of such spaces. By hanging somewhere between reality and illusion, the recognisable objects are a key to the entry within the painting, associated to the viewer’s own fund of experiences, juxtaposed to the abstracted forms, that slip from coherence to aspace between abstraction and figuration, in which they are neither recognisable nor are purely abstract.

In creating a painting that depicts that which could be an interior, one is commenting indirectly on the space that the interior is occupying. In such paintings it is possible to question the reality of the space, and the innate discussion that occurs between the objects and their subsequent interactions in which their relationships are integral to the image as a whole. But space in a painting is not real space, just an illusion in paint that appears as if it could be visited or lived in, this association to the viewer potentially removes the boundary that sits between an audience in a gallery space and a painting hung on a wall. It is interesting to consider what would occur when a painting enters the interior space of a gallery beyond the wall, to explore what happens when unstretched canvas trails onto the floor, is to explore what it is for a painting to enter real space. Therefore, in entering the space of a gallery, via the floor for example, a painting becomes an object itself, and a vessel for the depiction of an illusion of space that holds an image of an interior. Therefore, in entering the space traditionally occupied by the visitors to the gallery, the painting becomes less about how it is visually explored on the wall, and more about how it is experienced while occupying the same space as the viewer.

When interior spaces are distorted through colour,visual perfection and perception of scale and space, a painting becomes aboutthe collision of experiences that have combined to form the imagined space. Incombining elements of reality with imagination and experiences of objects andtheir interactions in space, a painting is removed so far from what could bereal and yet is a direct response to the realities of living within a space.Could this be due to our constant and subconscious experiencing of spaces inwhich we live, work and explore continuously throughout our lives. Our memoryof past experiences associated to the places in which we live form a visualdocumentation that can only be referred to when an interior is reminiscent to acertain moment, and suggests why a painting of an interior space can be easilyassociated to by a viewer of a painting. 

Using Format