The observation of human behaviour is central to my work. My practice acts as a testing site for processing and understanding information overload, which I see as a byproduct from living within our contemporary society. My interests lie with Charles Baudelaire and his concept of the ‘Flaneur’; one who constantly observes society, its behaviours and social constructs. For me, this includes the way the world influences me, how I perceive it influencing others. I am interested in our identification of the ‘self’ and how this changes the ways we interact with one another. My work is underpinned by initial illustrations, predominantly drawn in colourful pens, or pastels, to capture shape, texture and expression. This is my way of quickly documenting momentary emotions or thoughts onto paper, to externalise, and visually reviewing my feelings towards these observations. Within my work I try to constantly renounce my understanding of a ‘successful’ artwork. I find that questioning beyond simple aesthetic reveals new pathways within my practice, this constructive criticism helps me to progress. Likewise, by considering the world around me through observation, I can gain a constant questioning which furthers the interrogation of my beliefs through art.
As another way of self-reflection, I am very interested in the act of body-printing. Where as my illustrations serve as an emotive testimony, the body prints are a physical testimony. As if by saying with the illustrations, ‘here is my mind’, and with the prints, ‘here is my body’. The motion of transferring paint directly from skin to paper is exceedingly personal. I am interested in the trace this print leaves, it represents both a presence and an absence. This level of intimacy provides an indexical link to not just myself as the artist, but to all other works I create. I view my body as a ready-made tool to be implemented in the same way a signature is; because it is ever changing, each print acts as a ‘checkpoint’ within my life. Similarly, when using other peoples bodies, they provide an index to their interrelations and positioning within our society.
In my work I am also interested in mastering traditional crafts, particularly pottery. There is something about the progression of skill that fascinates me; the reward one feels when you have thrown something bigger and better than ever before. It is very satisfying to make something functional, or to simply cradle your creation within your hands. Through my practice I have realised that we are creative beings, and through that we attempt to find meaning and purpose through trial and innovation. I find my pottery to be an intriguing juxtaposition when communicating modern ideas about society, because it is a very untraditional medium within contemporary art. This furthers my questioning of institutionalised beliefs and our preconceptions as a society. My work is not intended to pass judgement upon, or provide solutions to the issues within our society. However it is about the interpretation and suggestion towards these behaviors. I intentend to translate my observations through the use of art, to be perceived by the viewer under a different light. Hoping that through this consideration, a personal liberation may be found for both myself and my audience.
Lauren Cattle 