Artist Statement
My work centres on English landscapes. With a family history of migration to the UK and a childhood immersed in nature, I am drawn to unearth hidden histories, explore physical presence, and examine my personal connection to these landscapes. Embedded with national history and reflecting class, wealth, and colonial pursuits, these environments have become culturally diverse ecosystems, containing flora and fauna from across the globe.
Rooted in complex histories yet woven into the fabric of everyday life, these trees stand as living witnesses to the landscapes we continue to inhabit and reshape. But while dark roots can be found in their origin, there is also light and hope in their manifestation. Vital in their contribution to ecological healing and serving as sites that highlight the UK's deeply rooted diversity, these landscapes allow darkness to be transformed into light, as a reverence for nature and a contemplation on its sensory, healing and psychological effects emerge.
It’s this transformation of light from dark which forms the basis for my language with paint. Working with oil paint, linseed oil, and solvents, I develop landscapes that merge observed and imagined places through processes of removal, corrosion, and distortion. I avoid introducing white paint to the palette, achieving luminosity instead through the removal of pigment—creating light by stripping away darkness. This physical process reflects my interest in revealing the traces and histories embedded within the landscape.
Rooted in complex histories yet woven into the fabric of everyday life, these trees stand as living witnesses to the landscapes we continue to inhabit and reshape. But while dark roots can be found in their origin, there is also light and hope in their manifestation. Vital in their contribution to ecological healing and serving as sites that highlight the UK's deeply rooted diversity, these landscapes allow darkness to be transformed into light, as a reverence for nature and a contemplation on its sensory, healing and psychological effects emerge.
It’s this transformation of light from dark which forms the basis for my language with paint. Working with oil paint, linseed oil, and solvents, I develop landscapes that merge observed and imagined places through processes of removal, corrosion, and distortion. I avoid introducing white paint to the palette, achieving luminosity instead through the removal of pigment—creating light by stripping away darkness. This physical process reflects my interest in revealing the traces and histories embedded within the landscape.
To read more on Twinkle's background, including collaborations with artist Tinsel Edwards, you can read the essay Affluence and Avarice by painter Graham Crowley here.