'I am interested in the tipping point between figuration and abstraction. My process has been born through a long-term interest in connecting disparate imagery; connecting paintings together to create new tensions and relationships, much like collage. I realised that this came from a desire to split the spaces and realities within an image, which is now transposed in paint onto singular surfaces.

Alongside this preoccupation with fragmentation, is an appreciation for stillness. The spaces which I paint are intimate ones, distilled in personal, familial history. Although my palette is earthy and grounded, these paintings are not necessary melancholy. They are more totems of quiet, purveying the sense of a room just left or about to be entered. My paintings have been described as visual resolutions which attempt to make sense of my own fragmented experience, and, in extension, the multifaceted experience of the viewer.

The stasis and time afforded by the Covid-19 pandemic enabled me to observe my immediate surroundings. I began to look at the interior spaces of my home both appreciatively and for its formal qualities: the intersection of line, the shape of objects, and the filtration of light in my Newlyn house. I became interested in manipulating the space and forms and found that the paintings began to imbue a sense of displacement, disorientation and fragmentation. This reflects the dislocation, uncertainty and elastic nature of time experienced throughout the Covid-19 pandemic.

I describe my paintings as visual soundscapes; their fragmented nature describing the reality of experience. I am interested in the way we see: the continual movement of our heads and the shifting of our eyes renders fixed, linear perspective as a false way of looking. Each layered fragment or interrupted object acts as a separate segment of seeing, experienced in a snapped second.'

Rachel Reeves in conversation with Kate Reeve-Edwards (author of script), Cultural Capital Arts