In Hazel Ann Watling’s work ‘painting’ is a fluid space that drifts between onscreen-images and the physical reality of the painted image.
Via her mobile phone she obsessively acquires, stores and distributes fleeting impressions of her daily life. Forgoing hierarchy and genre, she mixes reproductions of her favourite artists, advertising images and photos that she takes wherever she finds them.
The instant an image is stored it becomes part of a process that transposes it into the field of painting. By the very nature of it being chosen, it gains a meaning predicated on the artist’s interest in form, rhythm and colour. A binary image that becomes mobile and questions elements of painting such as material, medium and context.
Thus, for Hazel Ann Watling, painting is a means of reflecting on a world where everything is neither central nor peripheral – but in perpetual movement.