Tina Jane Hatton-Gore
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Tina Jane focuses on the interface of life and non-life, exploring the aura of inanimate figures such as Scarecrows, Toby Jugs, Maritime Figureheads and Rudderheads making links with the past and reframing the future. The classic pose of the Toby Jug, the outlook of the Nautical Figurehead, the isolation of the Scarecrow, the taboo of collection of and obsession with the ultimately kitsch Garden Gnome all reflect the way humans communicate with one another, through innuendo, body language, online and "in person". Why do we collect? What is it we are seeking by looking at and touching these artefacts? Tina Jane uses traditional etching techniques as a pensive vehicle for the contemporary ironic twist, inversion and repetition focusing on negative space, texture, colour and background context. Studying Painting at the Royal College of Art 2023 to 2024, Tina Jane continues to immerse herself and others in the world of specific artefacts with view to re-analysing communication and expression, seeking links and cross fertilisation between Fine Art disciplines. Printmaking offers security in repetition, series, archiving, categorisation, propagation, allowing for complex developmental experimentation of themes and materiality, using aquatint to paint the narrative with tone, colour and random textural process residue.
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Tina Jane focuses on the interface of life and non-life, exploring the aura of inanimate figures such as Scarecrows, Toby Jugs, Maritime Figureheads and Rudderheads making links with the past and reframing the future. The classic pose of the Toby Jug, the outlook of the Nautical Figurehead, the isolation of the Scarecrow, the taboo of collection of and obsession with the ultimately kitsch Garden Gnome all reflect the way humans communicate with one another, through innuendo, body language, online and "in person". Why do we collect? What is it we are seeking by looking at and touching these artefacts? Tina Jane uses traditional etching techniques as a pensive vehicle for the contemporary ironic twist, inversion and repetition focusing on negative space, texture, colour and background context. Studying Painting at the Royal College of Art 2023 to 2024, Tina Jane continues to immerse herself and others in the world of specific artefacts with view to re-analysing communication and expression, seeking links and cross fertilisation between Fine Art disciplines. Printmaking offers security in repetition, series, archiving, categorisation, propagation, allowing for complex developmental experimentation of themes and materiality, using aquatint to paint the narrative with tone, colour and random textural process residue.
Tina Jane focuses on the interface of life and non-life, exploring the aura of inanimate figures such as Scarecrows, Toby Jugs, Maritime Figureheads and Rudderheads making links with the past and reframing the future. The classic pose of the Toby Jug, the outlook of the Nautical Figurehead, the isolation of the Scarecrow, the taboo of collection of and obsession with the ultimately kitsch Garden Gnome all reflect the way humans communicate with one another, through innuendo, body language, online and "in person". Why do we collect? What is it we are seeking by looking at and touching these artefacts? Tina Jane uses traditional etching techniques as a pensive vehicle for the contemporary ironic twist, inversion and repetition focusing on negative space, texture, colour and background context. Studying Painting at the Royal College of Art 2023 to 2024, Tina Jane continues to immerse herself and others in the world of specific artefacts with view to re-analysing communication and expression, seeking links and cross fertilisation between Fine Art disciplines. Printmaking offers security in repetition, series, archiving, categorisation, propagation, allowing for complex developmental experimentation of themes and materiality, using aquatint to paint the narrative with tone, colour and random textural process residue.
