‘A much needed shaft of wit is provided by ‘Max Ernst’s Trampette’, carefully spiked by Midge Naylor’.
Andrew Lambirth wrote this in ‘The Spectator’, marking the first time I had a work hung in the Royal Academy Summer Exhibition. The piece reflected some of Ernst’s painting techniques and motifs and the spikes touched on the trials of being a visual artist. This was storytelling, but usually my work attempts to apprehend a range of experiences. An amalgam of feelings, memories, imaginative constructions and responses to inner and outer worlds are expressed in landscape. A good poem comes less through its content than through the tension between the words that form its content and this idea can applied to the elements of an artwork.
I make mixed media paintings without physical reference material. Driven by the materials themselves, marks and motifs which emerge from acrylic, oil, ink, graphite, charcoal and pigment sticks are manipulated, obliterated and remade. Formal resolution is very important to me and comes through adjusted improvisation. Finished paintings show a layered history as they float between abstraction and representation. This is not an easy way to work but it does often deliver a poetic quality and to me a sense that works have been reclaimed rather than created.