Overview of Practice

Ageing and Evolution

Initially located in the portrait genre, Schenk's early work engages with the passing of time. Inspired by Richter's photo-paintings, the artist deployed sequential representation to portray the changing appearance of one person over time.

However the perfect photo-real surface proved somewhat inadequate in capturing the ever-evolving process of ageing. Developing layered paintings with textured, disintegrating surfaces, Schenk began to explore the prehistoric marine creatures we emerged from. Human portraits morphed into fish. And ageing became linked to evolution.

The Romantic and the Scientific

Simultaneously referring to the 'grand' tradition of History Painting, together with illustrations of children's books, Schenk's work of the 90's juxtaposes the depth of the ocean ('the womb of creation') and heavenly deep space. Guarding this transient world, the Denizens of the Deep (representing our past) are, in turn, contrasted by an 'angelic' baby/cherub - vulnerable to the future.

A number of artistic leitmotivs surface here - the erosion of boundaries between 'high' and 'low' art, past and future, prey and predator, the real and surreal, the sacred and defiled - and, perhaps most importantly, the underlying theme of the Romantic and the Scientific.

Camouflage and Abstraction

By 2000, nature took centre stage. Further pursuing the theme of transformation, and with the chameleon in its many guises as exemplar, the artist began to explore camouflage, disguise and deception.

As the chameleon ages it sloughs. With the canvas as 'skin', and utilising castings of the original paintings, a series of interrelated reptilian 'palimpsests' was produced. With each added version the image gradually dissolves - suggesting a transition from recognition to abstraction. The language of sequential representation, materiality, process and lingering image combine to create multi-layered meanings.

Transience and Iridescence

With the main artistic themes and methods now established, the artist embarked on a quest to add perhaps the most crucial ingrediant to her palette: iridescent colour. Still restricted to industrial usage, latest iridescent technology offered Schenk the exciting potential opportunity to arrive at truly chameleonesque work - namely paintings that change colour depending on the light and viewing angle. However, as iridescence does not adhere to the rules of easel painting this proved a major challenge. But, perhaps as nature inspired this technology, it can also teach us how to best employ it?

With this in mind, and the cuttlefish and butterflies as her inspiration, the artist undertook a number of scientific placements, and in so doing familiarised herself with the latest developments in material sciences, optical physics and evolutionary biology.

Indeed, by mimicking nature's ingenious strategies, Schenk has now captured, for the first time on canvas, the vicissitudes of nature's iridescent hues. And thus made major strides in introducing change, transience and a dynamic dimension into painting.