The tension between 2D materiality and the illusion of a 3D image is the central concern of Beth’s practice. The imagery she produces is intended to be familiar and intimate at a glance but simultaneously unsettling, focusing on representational confusion and the uncertain recognition of forms. The paintings explore a mixture of surface interactions between the painted canvas, the screen-printed image and projection. Perhaps the viewer is seduced momentarily but jolted back into the fictional reality of the paintings as the imagery is flattened out and collapses into the surface of the canvas.
Projection temporarily alters the resulting image and reflects the digital influences that have inspired aspects of Beth’s practice, in particular the loss of perspective in favour of free-floating space. She is interested in the relationship between the screen and what it depicts, the ability to see and understand beyond the singular plane. The paintings aim to unite fragments and layers, which appear to float, at once stable and unstable, in the same frame. It is intriguing to consider the differences of time and space between digital, transitory images and the actuality of painting, which is preserved and weighted with significance.