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Image 1 of 1
Image 1 of 1
Image 1 of 1
Oil on wood
61 x 45 cm
2026
‘Lunchtime’ is part of a larger body of work which features oil paintings highlighting the life of fairground rides once they are left to decay. Photography always informs my painting practice - this body of work started from a collection of photos taken at an abandoned theme park. I am fascinated by the way these spaces act as time capsules, left largely undisturbed by human influence. Using the motif of the carousel, a globally recognisable icon of the fairground, I highlight the slow, quiet deterioration of these structures as they sit stagnant and let time transform them. Instead of seeing this decay as something negative, I see it signifying a shift in purpose; offering a chance to reflect on the impermanence of man-made spaces.
So many people have childhood memories from fairgrounds - I find this collective memory interesting and contrast the joyful memories people have with showing the wear and tear of these rides. My approach to making these paintings was working layer by layer, gradually increasing the level of detail. I focus on showing the subtle signs of decay; chipped paint and rust. This is evidence of rides well used, but also invites sadness for their current, unmaintained state. The composition is void of human presence - this absence allows the subject to exist without being tied to a specific time frame, blurring the passing of time. I capture a freeze frame within the decades-long timeline of decay, capturing a moment where the object’s purpose is shifting.
Oil on wood
61 x 45 cm
2026
‘Lunchtime’ is part of a larger body of work which features oil paintings highlighting the life of fairground rides once they are left to decay. Photography always informs my painting practice - this body of work started from a collection of photos taken at an abandoned theme park. I am fascinated by the way these spaces act as time capsules, left largely undisturbed by human influence. Using the motif of the carousel, a globally recognisable icon of the fairground, I highlight the slow, quiet deterioration of these structures as they sit stagnant and let time transform them. Instead of seeing this decay as something negative, I see it signifying a shift in purpose; offering a chance to reflect on the impermanence of man-made spaces.
So many people have childhood memories from fairgrounds - I find this collective memory interesting and contrast the joyful memories people have with showing the wear and tear of these rides. My approach to making these paintings was working layer by layer, gradually increasing the level of detail. I focus on showing the subtle signs of decay; chipped paint and rust. This is evidence of rides well used, but also invites sadness for their current, unmaintained state. The composition is void of human presence - this absence allows the subject to exist without being tied to a specific time frame, blurring the passing of time. I capture a freeze frame within the decades-long timeline of decay, capturing a moment where the object’s purpose is shifting.