Rebecca Sitar

My practice historically is within the discipline of painting; more recent research projects extend to reflect a more multi-disciplinary approach, including photography.

In an age of mass digitization and virtual media, the corporeality of painting still makes it a vibrant and engaging specialism to be working in today. I consider it a privilege to pass on my enthusiasm for the subject and share the knowledge, understanding and experience drawn from years of professional practice, teaching, learning and making.

In my earlier work, an interest in the Haiku form of Japanese poetry had a significant influence on the direction my practice took. My research considered the thematic concerns and formal structure of the Haiku tradition and its appropriation to the medium of painting. Singular forms were positioned within the spatial field strategically to prompt a meditative state of contemplation. These concerns first emerged in a national touring show Slow Burn: Meaning and Vision in Contemporary British Abstract Painting (1998) that considered poetics in painting at the end of the 1990s.

More recently, I have also worked with photography. The images are created to invite a re-imagining of the natural world and our sense of the sublime. Archival digital prints were selected for a group show titled Sublime: RickCopsey, Pat Flynn, Nick Jordan & Jacob Cartwright, Rebecca Sitar at Puskinskaya-10 Arts Centre, St Petersburg, Russia (2014) and Oriel Davies Open (2014).