Work-based around a folk horror theme, entropy, and working at the intersection of the natural and the domestic.
I’ve been playing around with placing domestic chairs in different landscape contexts. I’ve been collecting dolls’ house chairs (junk shop buys etc) and using these as references to insert into paintings of the Cornish landscape. Conceptually, this accords with the recent ‘inside-outside’ theme, dissolving boundaries between inside (home) and outside spaces as part of a commentary on how we ‘other’ the natural world. I recently expressed this in the following artist statement on sightlines:
In my work I’m looking to explore possibilities for other sightlines more suited to our current increasingly frightening context. These alternate sightlines may be irrational, broken-up, dissolving or they may imply unearthly and impossible geometries and hauntings. I aim to show a positive yet entropic diminishment of masterful sightlines in favour of sightlines that recycle and reformulate, that transform and deny illusions of agency and human centrality. As an artist focused broadly on ‘landscape’, I’m taking a sightline that juxtaposes our ordered, homely domestic spaces with that of the wild world to emphasize our need to reassess our relationship with the natural world. This includes setting our sights beyond the immediate to the future, a sightline now needed more than ever. In search of sightlines that accord with this, I take a surreal turn to visual vocabularies and narratives that inform our childhood and teenage years: fairy tale, urban myth, and folk horror.
To read more about this project, see my blog https://wordpress.com/home/tanyakartblog.com