Through my self-referential practice, I aim to explore my experience in life as a means of satiating the introspective curiosities that ruminate within.  Though my work often finds itself manifesting through painting as an innate extension of my subconscious, the physicality and significance of my materials lend itself to my work developing into more honest sculptural forms created from second-hand materials that in turn reflect and evoke further connotations of the lower-class upbringing that motivates the subject matter. With a current focus on childhood as the punctum of memory, my works provoke forgotten experiences that have shaped my being at present. Authenticity is challenged as a result, where the experience of personal histories intertwining with politics and class rely on ambiguous memories hindered by the notion of “sweeping things under the rug”, miscommunication or lack thereof.


Drwy fy ngwaith hunangyfeiriol, fy nod yw archwilio fy mhrofiad mewn bywyd fel ffordd o ddigoni’r chwilfrydedd mewnsyllol ynof. Er bod fy ngwaith yn aml yn dod i’r amlwg drwy baentio fel estyniad cynhenid o’m hisymwybod, mae natur gorfforol ac arwyddocâd fy neunyddiau yn galluogi fy ngwaith i ddatblygu’n ffurfiau cerfluniol mwy gonest, a gaiff eu creu o ddeunyddiau ail- law, sydd yn eu tro yn adlewyrchu ac yn ysgogi ystyron pellach o’r fagwraeth dosbarth is sy’n cymell y pwnc testun. Mae’r gwaith penodol hwn yn canolbwyntio ar blentyndod fel atsain y cof, ac fel y cyfryw caiff profiadau angof sydd wedi llywio pwy ydw i eu dwyn i gof. Caiff dilysrwydd ei herio o ganlyniad, lle mae’r profiad o hanesion personol yn rhyngblethu â gwleidyddiaeth a dosbarth yn dibynnu ar atgofion amwys, a lesteirir gan y cysyniad o “ysgubo rhywbeth dan y carped”, camgyfathrebu neu ddiffyg hynny. Gan ddefnyddio motiffau benywaidd ar yr aelwyd fel pwytho, mae’r gwaith hwn yn canolbwyntio ar famolaeth yn benodol fel rhywbeth sydd ar wahân i bersonaeth, a goblygiadau hyn o safbwynt merch dosbarth gweithiol.

In the retelling of stories from childhood, a confabulated version is produced through the laborious acts of stitching, carving and sculpting. The three works “Single Bed”, “Things I Could Never Say” and “Portraits of Mother” focus similarly on the exploration of motherhood as a separation from personhood and how, in attempts to detach oneself from a maternal grasp, the artist herself subconsciously imitates the subject she is depicting. Through the perspective of a working-class daughter, the ramifications of growing up on strained relationships are symbolically mirrored through the quality of grounded, second-hand materials and consequently challenge their presentation in a familiar ‘homely’ environment.

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@lilyrobertsfineart