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Natalie Baker

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pop, mixed-media, realism, installation, landscape, modern, photography, digital, abstract, research, figurative, conceptual


My work stems from constructions that I imagine as fragmented worlds. Snippets of experiences and images come together in a hovering dream reminiscent of their original context.


Spaces steeped in tradition carry with them their own sense of time and history, nulling the sense of urgency and immediacy that should define the space. The plasticity of America defines this immediacy for me; new cities such as Las Vegas, New York, Tokyo and the newly excavated comic space of Dubai, all project themselves towards a certain pleasure principle. Artificiality, lightness and a sense of play, overrides reality, which is rapidly being resurrected in the form of theme park fantasies.

Through a progressive re-working of selected found images in the form of collages, then paintings and studies, mine is a deconstructive and reconstructive approach towards painting. By re-defining space, form and composition, the original intended meaning of the images or spaces is transformed into a series of suggestive motifs. They become reactive and conversational. Dominating my recent work is an exploration into these imagined worlds constructed from a blend of references to the artificial and fantastical aspects of actual cities and social spaces of the present and near future

These constructions exist as constructed fictive cities, temporarily making concrete the impossibility of escapism, only fuelled by the distance that accompanies the authoritative found imagery. The translation of these constructions into paint, binds them into an eternity and tradition that gives the lightness and plasticity of the transient forms, weight.

Since graduating two years ago, my work has become more playful. By embracing the interaction between fantasy and figuration, it has become more dynamic in character and abstract in thought. I have recently explored utilising the ready-made object, in a series of Snow-domes. As still lives, they communicate a very kitsch, human conception of place; their kitschness aiding the clumsy authority that they assume.

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