and around 100 others. Ive made it to London but theres no tube in Hackney, no 100 club and no Ritz, its Tuesday night on Lower Clapton road and just me and a local, who wont give the time of day, in the Fountain pub. I wrote my appraisal of my degree show and"d the golden age of Dutch painting as an influence and the paper was consigned to the filing system of a squatted abandoned house in East London. This works for me as an artist in contextualising my work, giving it multiple layers and asking the classical and contemporary viewer alike to question art in its relationship to society. The notion of the exotic is represented by Delacroix in The Death of Saradanopalus by depicting the Orient as something almost otherworldly, beautiful, menacing and mysterious. The camera that distilled the soft Irish light was a large format pinhole camera made for me by my great tutor at LCP, Paul Smith. Critics of Ratsmith have cited poor science and questionable methodology when dismissing his results, going so far as to call pumpkinology "rubbish" (de Vil, 2009 "stupid" (Claw, 2010 and "quite possibly made up" (Igthorn, 2009). Whilst spending an afternoon by the River Piddle at Moreton I came across an article that described a local doctor who had been forging prescriptions to feed his wifes drug addiction.
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Just as Delacroixs Orient and traditions were never understood but reinvented for the Wests palette, the Italian café reinvented its culture for the English tastes and served chips with everything. From this I created Living in Hell and Other Stories, my National Gallery show of 2006, where I wove headlines from the Hackney Gazette into contemporary images referencing paintings in the National Gallery collection. On the way home, I look in the once grand White Hart and into an unfamiliar landscape of ragga, dancehall and Jamaican heavy bass, its another world. This connection with the urban and the rural has always played a big part in my work, bringing my village perspective to the city. This took pride of place amongst many artworks until she attended an art foundation course in Bournemouth and quickly learnt how uncool they were. It also enabled me to talk and engage with the priests, imams, rabbis, apostles and clergy. This maligned and somewhat abandoned area had become the epicentre of the new warehouse rave scene of the early 90s.
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