Rather than defining her art identity solely as a painter, Pip Preece prefers to be thought of as an arranger, a collector of thought processes and at times a narrator. However she still finds that the methods of painting allow her to express these mechanics most powerfully.
Preece translated the detachment of Manet’s bar maid at the Folies Bergere into her own scene of contemporary ennui.
Alongside her studies Preece has worked at a local off licence, giving her a sense of the ennui the contemporary workplace brings. The experience of menial activity influenced her to consider how in an environment of ennui one begins to see myopically, viewing aspects of the setting from a restricted viewpoint, rather than the wider picture. Tasks such as stacking shelves, serving customers, counting money and cleaning become second nature activities. These processes have infiltrated Preece’s studio practice.
The physicality of the nature of painting and time devoted to painting as an action reflect the working environment. By considering areas of the workplace and reducing them visually in terms of line, colour and angle, Preece shows how the mind simplifies its perception of objects one becomes over familiarized with.
The arrangement of mundane imagery creates a methodology of repetition; in both the production and presentation of this Preece hopes to reflect the repetitive process of menial labour.
No comments:
Post a Comment