Pipilotti Rist’s innovative approach to video art and immersive installations have been a significant source of inspiration for my own artistic practice. I hope to pursue an MA in Fine Art to continue developing my artistic practice, with a particular focus on video installations that reflect my experiences working with children in educational settings, such as sensory rooms. These experiences have deeply affected me, especially witnessing the emotional struggles of some clients who prefer to stay at home. Through my work, I hope to evoke empathy and raise awareness of these emotional and social realities.
Lygia Clark has influenced my approach to performance drawing, particularly in the way I engage with repetitive forms. My work often incorporates circular shapes, and I am interested in exploring why I am drawn to the circle and what symbolic or emotional meanings it might hold.
The circle appears repeatedly in my drawings, and I’ve started to reflect on why. In my experience working with children, particularly in educational or therapeutic settings where I often encountered repetitive behaviours. Some children were resistant to change, caught in emotional loops or displayed a stubborn need for consistency. These moments were challenging, but they taught me patience and deepened my sense of empathy. I now see the repetition of circles in my work as a reflection of those experiences, perhaps a way to process or contain the emotional weight of that environment. In my performance drawing, I move slowly and calmly, almost meditatively. I don’t respond well to stress or anxiety, and drawing becomes a way to resist that pressure, a quiet act of care, both for myself and those I’m thinking about as I work.
I often choose soft materials in my work, fabrics, cushions, or gentle textures, because they evoke a sense of comfort and care. The choice is influenced by ideas from sensory integration and trauma-informed design, where soft, non-threatening environments can help regulate the nervous system. In my work with children, especially those with sensory needs or emotional difficulties, I’ve seen how softness can calm, ground, and create safety. These materials also relate to Winnicott’s theory of the “holding environment”, the idea that care, containment, and emotional holding are essential for development. Through my installations and performances, I try to create that same sense of being held, gently, without pressure, for both myself and for the viewer.
Ernesto Neto’s immersive installations have inspired me to rethink the relationship between space, the body, and materials. His use of soft, organic forms and multisensory experiences has had a strong influence on my own ideas for installation work. During my MA in Fine Art, I hope to develop this further by creating own sensory-based installations that explore similar themes, with the aim of eventually exhibiting them as part of my ongoing artistic practice.
Rona Thorne 