A b o u t 

​

Amanda Duggan is a contemporary British Artist | Maker. Having studied Three Dimensional Design: Ceramics at Loughborough University before teaching Art, Ceramics & Sculpture for 20 years in the South West of the UK she is now a full time artist working from her home studio in Wiltshire.

​

Driven by intuition & discovery my primary objective for my current body of work is to create a stillness within me. Using a refined palette & materials I explore ways to communicate the beauty of a singular element. Observing the relationship between materials is a way of slowing down & allowing each work to emerge as an object in its own right. Analytical approaches combined with intuitive responses at each stage allows for a loose plan but more importantly risk taking, which develops learning. Textural qualities have always been an important element to my work. The current use of antique textiles brings an inherent textural element to respond to as well as an unknown history & weight before I even begin working. Often the relationship of an aged linen hemp against one particular pure pigment is enough to start an exploration, for example.

With a quiet mind I begin work by focusing entirely on the concept of space & the practice of painting. Each mark a response to what came before. I listen, respond, aiming to avoid complexity & keep the painting as pure as possible. Just like conversations, the practice requires a level of concentration, patience & the listening requires stillness. Work aims to be purely monochromatic using pale hues of off-white, cream & buff tones, however these rules are broken, often punctuated with contrasting angles & lines sometimes relating to light or shadow giving a sense of direction. A certain calmness is achieved when creating with pale colours & I can get lost in the subtle tonal shifts during the process of layering washes as each soaks into the layer before, changing its appearance ever so slightly each time.

Focusing on a reductive practice is about developing an appreciation for space & its benefits. Empty, uninhabited space in our Western culture has negative connotations, implying loss, fear & insecurity. By allowing space to exist I believe we can start to appreciate all that is possible. Potential rather than absence. I want my work to be approachable, offering an alternative to the complexities of life. In this maximalist world, never before have I felt the need to reduce the level of noise in order to bring balance. It gives the opportunity to be more aware, question beauty and sit with our vulnerabilities… to share a common human experience in a tangible way.