A reflection and expansion on childhood memories of nature and the rural landscape is at the heart of Flora Malpas’ current practice. Over the past year Malpas has been absorbed by questions of the shift and slippage between states of presence and absence as a substance or being moves from being physically present to materially absent. The work that has resulted from these considerations has taken the form of stories which originate in particular remembered occurrences and places, such as finding an abandoned lambs tail in the countryside as a small child.
Using painting and printmaking, Malpas create largely monochromatic works which aim to evoke a mood of eeriness. Part of her investigation into the slippage from presence to absence has been a detailed exploration of ash as a painting and printmaking material along with the varied visual impacts possible through the use of different mediums and manners of processing. Within ash, the personal and the universal are present due to her individual memory of sourcing, grinding and mullering the ash into paint, so that the narrative of my preparation of the material and my personal relationship with it become linked.