Abigail’s practice involves the use of objects in fine art as memorialisations of people and the importance of the domestic space in her practice. She also explores portraiture in the contemporary art world, investigating a popular form of representation, the selfie, as an instrument in portraiture. The subject matter Abigail chooses is autobiographical, it is her observations of the people close to her. Inspiration comes from intimacy shared with the subjects.
As part of Abigail’s practice she asks her subjects to take a selfie photograph as participation in development for her work. She then paints from this image. In her practice, by using the selfie, she creates a particular dynamic of representation central to the outcome of her portraits. The subject takes a selfie photograph first, a self representation of themselves and the selfie is then sent to Abigail, she re-presents the image by painting a portrait.
By using the selfie in her process she is investigating a popular form of representation and instrumentalising the selfie as a way to reconfigure contemporary portraiture. Abigail is combining society’s obsessions with the selfie and her interest in fine art portraiture to produce fun, childlike images full of wonder.
Abigail’s practice involves painting and installations. She creates objects for her installations through painting and sewing which are then hung on a clothes line. The clothes line refers to her domestic space and the objects hung capture the essence of her family, this being of great symbolic importance.
The clothes are copies of real items preserved, kept, found. They are about choices, commitment, love, memorialising and tenderness. Abigail uses domestic objects as symbols as each object is personal. As such, these objects are portraits of a person.
Dogs are a significant feature of Abigail’s work. The message is cryptic. She uses dogs as a metaphor for the people they represent.