Peep Painting

Annabel O'Hara's practice involves a continuous visualisation, and attempts at grounding of her intrusive thoughts. She is mapping and remapping out curious and perverse forms which derive from her memory and subconscious. She develops her own visual language through ambiguous bodily references which are then communicated through sketch and mixed media on a larger scale, with accompanying coveted discourse. Her work sits in a psychological context, influenced by artist Louise Bourgeois to take on a cathartic autobiographical exorcism. Which is also relating to childhood memories and emotional personal matters. She investigates Sigmund Freud’s theories on infantile developmental stages; including the Oedipus and Electra Complex, Castration Complex, and Penis Envy. This divulges into involvements of an infantile bodily curiosity, alongside repression of that caused by shame. Additionally, a use of separated bodily form, incorporates notions of Freud’s Uncanny. Another huge inspiration that O'Hara takes from, Georges Bataille’s writing where he academically expresses his mental anguish, especially in a manner of contrasts such as emotional abjection, allowed me to understand that I transfer “Oedipal Terrors” (Allan Stoekl, 1985) from dreams into the visuality of ambiguous forms and stream of consciousness discourse. O'Hara's practice can be conclusively seen as a continuous materialisation and grounding of intrusive, pervasive thought which derives from childhood memory and the subconscious; Her own visual language uses ambiguous bodily forms and references which she communicates through a symbolic choice of materials, such as lightweight natural calico, as well as the use of line and form. She addresses such sensation by limiting my practice to the use of a singular brush and colour and by using basic mediums such as charcoal in order to promote natural expression and limit distraction - the visceral physicality allows for a personal, direct channel of expression.