Ashleigh Chinnock's practice addresses ideas based on notions of domestic states. Primarily, the spaces constructed are intentionally universal forms of space, which both the viewer and
herself can relate to as imitative areas; derived from domestic structures and personal spaces or environments.
To initiate the construction of space, she has developed a technique using mass produced wallpaper, in essence, the ready-made Vs Painting. The inclusion of manufactured, printed surface aims to enhance the feeling of domesticity within this context, as well as providing
relief to the painterly discipline itself. This technique has stemmed from a body of experimentation concerning household uniforms, all of which insistently change when experiencing interiors that we are continuously submerged within.
The preliminary application of wallpaper produces a backbone within the work; the encounter with the composed space allows manipulation of the canvas surface on a physical level, which enabled the artist to consider the decision making more thoroughly, and allows Chinnock to conclude with a range of outcomes when experimenting, depending on how to apply the manufactured print and the paint to the canvas, initial effects on viewing vary. Abusing the Surface, cutting, staining, soaking and reapplying entails distressed circumstances; the heavy layering of paint eliminates the precision of the application of printed-paper alluding to connotations of interior history. This process of erosion reveals undercoats of paint and previously layered wallpaper, which appears abrupt; however this corrosion of the work adds solidarity and instigates a process of construction by default, leaving linear meanders in the surface creating a skeletal like structure to the space in question. In contrast, elements are less erratic, depicting consideration towards the surface, using a controlled, monochromatic pallet, is juxtaposed to the previously discussed elements, implying a new economic, an unoccupied space ready to be worn and filled with
history, prompting a visual discussion of how surface manipulation can constantly change the impact of a given place.
In terms of composition, Ashleigh Chinnock has chosen to develop the pieces by creating one whole image with two adjacent canvases each belonging to one another, the vertex forming a right angle. This aims to bridge on an illusion as well as opening up the corner space, playing on the division between portrayed and actual space. This three dimensional
regulation is an aspect which the artist intends to develop within her forthcoming practice, creating new realms of visionary space.