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collage by Athens based artist Christine Murphy inspired by music

While reading my architecture degree at Oxford Brookes, I began to think about our environment more critically, and to question its origins. Although fully versed at graduate level, the concept of architecture - with regards to its limits and possibilities - remains dynamic and changing in my mind.I have become more conscious of the socio-political aspects involved in architecture, how a pluralistic multi-headed society is ever-changing, and how this echoes in contemporary architectural forms and thought. The impact this has had on my work is to encourage a search for inspiration away from hegemonic forms and imagery, beyond the already accommodated. I am eager to explore the uncharted territory of architecture.

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I love painting and creating and am compelled to realise in the built environment what I believe is beautiful in everyday life and our shared spaces. My methodology is to start with collages and paints, pinning down an idea before defining and refining it into something which can be inhabited. I start with a mood, an emotion, a mental state, and then try to find a way to translate it into space, thereby communicating it to the inhabitant. I believe I can learn how to evoke this emotional response within the inhabitant as a transformative, even transcendental, possibility.



Since 2011 I have been taking art classes at the Athinais Cultural Centre in Athens, Greece, taught by artist Annette Luycx. This shift in direction has allowed me to create,  discover and express far more freely than before. Sometimes I work with a theme to help me focus and build on something, other times without. As my main theme for the past two years I chose to explore addiction and the numbness and boredom that leads us there. I also attempt to solve it, by finding and perhaps unleashing the feelings we conceal allowing us to escape addiction. The next stage includes pieces  which show more positive and beautiful aspects of life which addiction makes us blind to. 

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