As a painter I am interested in the traditional oil painting and drawing techniques and skills, to create and fully articulate my work, but beyond this to challenge and question concepts and assumptions within a metaphysical and symbolic idiom…. I use traditional materials, fine quality oil pigments, which offer a luminosity and depth of colour when held within glazes and mediums. As a result I have discovered these traditional techniques offer me a sympathetic and methodical process to incorporate into my painting practice.

My paintings evolve over time, in the form of layers of meanings, each building upon the previous layer towards an ultimate image and composition. The use of an original drawing and cartoon may be the very start of the journey but change is integral to the process, and there is often a subconscious but strongly felt conviction that to accept change – ‘is right’.  My research of the work of Renaissance artists has reaffirmed my interest in ideas surrounding human existence, a fine composite of ‘actions, feelings and beliefs’, now often existing within the fields of art and science/technology. 

Over 2017 I have explored the wider notions of ‘identity’, our ‘being’ or ‘self’ – held within the context of contemporary life and interwoven within relationships, friendships and daily existence. Focusing on different channels and perspectives of human activity for example a rose suspended – in anticipation of a dance, or the simplicity of a pair of tango shoes – languishing in their box, these paintings invite the viewer to consider and seek answers for themselves.

More recently the work of Artemisia Gentileschi is also fascinating, a true pioneer as a female artist at this point in time, and who despite extreme difficulties left a legacy of great works. By including images from Master Artists in some of my work, I aim to celebrate and profile the exquisite work of great artists, learn from their working practices, perpetuate their vision and techniques, and concurrently link their practice with mine across time. 


Victoria King

March 2018