University: University Of Brighton
Graduation Year: 2017
The paintings of Hannah Eavis contain an exciting collaboration of texture, colour, and mark-making. Each of these aspects fights for dominance, and the effect is an energic dynamism. Fast, deliberate scrawls of paint and pastel dance across the surface, disrupting the equilibrium of blended flat colour. Evidence of layering can be seen in the dried, dripped texture hidden beneath washes of oil paint and dry-brush scrapes of colour. Each layer seems to aggravate the last – pushing, futilely, for authority. Similarly, vapid, soporific tones clash with loud, obnoxious flashes of luminous colour - pushing and pulling against each other. The result is a fantastic play of texture, colour, and form. Furthermore, Eavis occasionally experiments with semi-abstract figuration in her work to which themes of familiarity and abstraction intermingle and push the relationship of form and materiality. Eavis’ work exhibits an interest in the artistic process suggestive of contemporary artist Richard Aldrich who wrote, in 2006, that “painting is an illustration, or proof rather, that a creative force exists.” This is true of Eavis’ work, which tactically builds layers of colour and marks to transform and reveal the process of creation.
My work is concerned with mark making, colour and the process of painting itself, in a way that makes the work more concise and direct. By using stained canvas I hope to achieve an immediacy. I am trying to develop a greater sense of structure. My use of reference is indirect, as paintings originate as studies, that derive some of their marks from small collage pieces in my sketchbook, and then take on a life of their own. The paintings then, have gone through several stages of reduction, deconstruction and transformation. I take my ideas from primary and secondary sources as I find they both have potential as a source for shape, depth and colour. I have looked at feminist art ideas and theories, as feminist artists use alternative media, and in the past I have pasted collages of Beyonce into my work. It has many very loose connections with everyday life, it is abstract painting with a sense of familiarity. My source material comes from magazines, found photographs and newspapers. I enjoy the trashy, pop colours and pattern together with glimpses of figuration. I have explored taking abstract patterns and lines from my research. I use household paint to deliberately make a connection with everyday commercial material. I look at everyday life and our contemporary environment. We are I believe becoming increasingly conscious of the environmental impact of consumerism.