You were recently in a talk discussing the effect of Instagram on the art world, do you feel like it’s really promoted change in the art world?
I think it’s really provoking a change in art: it’s democratised the whole art world. Anyone can create an Instagram, and then there’s so much out there that’s so easily accessible. I don’t think that that necessarily means we don’t need to be represented by galleries anymore at some point, but I think that Instagram is such a great starting point for artists to explore and to find people they wouldn’t normally be able to interact with. In the talk at Soho House, someone asked “is there too much on Instagram now?”, and Cassie Beadle [Curator at The Cobb Gallery] said that although there is so much out there, talent always does show through. So obviously there are negatives to social media, but I think Instagram is great. It allows people into the studio, it’s not just having one exhibition every few years. It allows people to see behind the scenes of the art world. It gives an artist to the painting.
Do you find that being in the London art bubble affects your work?
I’m from London originally, so it’s hard to say if it’s affected my work. But from moving between Edinburgh and then my time in Florence, that really saw my work change and evolve. I had a very different style, I was younger and I painted much more realistic, less abstract pieces. I mostly painted portraits, but I found that quite unfulfilling because if the painting doesn’t look like so-and-so’s son, what’s the point to them? So I think that’s almost why I became so abstract, as a form of rebellion against the strictness of that. I’d say it’s hard not to let your surroundings impact your work, but to be honest what’s affected me the most recently is less geographical it’s more the whole feminist movement. It’s just been so inspirational, through Instagram I’ve got to know other London-based individuals celebrating women and their work.