Charlotte Brisland:
Underland

Intro…

Lucazade Bungalow by Charlotte Brisland
No. 1, The Pastel Series by Charlotte Brisland
Pride of Place by Charlotte Brisland
Burnt Snow by Charlotte Brisland
Light Creep by Charlotte Brisland
Swamp House by Charlotte Brisland
Party Nights by Charlotte Brisland
Nuclear Park by Charlotte Brisland
LED Twilight by Charlotte Brisland
Viridian and Turquoise by Charlotte Brisland
The Watcher by Charlotte Brisland
Pink and Lemon Yellow by Charlotte Brisland

We asked the artist…

How would you describe your work?

The paintings borrow from traditional landscape painting with a focus on surreal, mundane and empty spaces. I am interested in the uncanny in terms of perception of space following a trauma. This opens a large arena for me to play with fragmentation, shift in colour realities, proportion and subject. Motifs have evolved over time which represent things personal to me such as a house or tree. These things carry a lot of meaning in terms of archetypes and for me they usual sit central, within a static composition. The central buildings are as much self-portraits as they are understood as connecting to an idea of home. Woods, forests and water also appear a lot, these things feature a lot in folklore because they are so important to our sense of place and being. As archetypes they’re instinctively weighty and we have our own stories in them.

What inspires you?


Light is constantly amazing me, trying to catch the colours this generates during the day is like trying to catch a cloud. The behaviourisms of nature, how light bounces around, reflects, lights up unexpected areas, and then how this is metamorphosed by narratives we tell ourselves in order to understand what’s going on for us within. Artists who seem able to catch this in the simplest and most economical of marks, like Andrew Cranston or Matisse.

What materials do you generally use?

I use oils because I love playing and subverting traditional methods and materials. I’m currently working on nearly raw canvas as a new body of work. The surface makes the paint sing and the pigments from my paints glow. It’s a rough surface, so I can’t work as quickly as I’m used to. Being forced to slow down is interesting, it’s a challenging new way of working.

What’s been your favourite project to work on so far?

I don’t think I have a favourite as such, they’re all my favourites. My favourite part is when the journey meets a conclusion, often the completion of the painting, and I see that the struggles all lead to it, and it worked. That bit always makes me happy. Very often though, it doesn’t quite work and I need to start again. Lucozade Bungalow has been the most interesting and ended abruptly. I had it on the wall for a long time, confused about what I needed to do next before realising that it was already finished and didn’t need anything else. That was an odd realisation.

Where can we find more of your work?

www.charlottebrisland.com
@charlotte.brisland

@newbloodart
@floorrmagazine issue 29. Interview

Charlotte Brisland:
Underland