Integrating contemporary space and the individual introspection: Focusing on how intrinsically interiors and build environment extends into visual, psychological and aesthetic experience.


The space I am interested in is not a concrete but a visual intangible one. My contextual practice research is based around traversing the ideas of contemporary arrangement of space, cultural identity and the invisible memory of the complex psychological and  architectural structure places that feels like “Home”. It is estimated (2017, p. 17) 90 percent of our time is spent indoors ,thus relating back to us of being  connected with a specific environment where one  feel in control by buffering against the stressful demands of rest of the world. I look at  home  and the spaces between them as they enrich lives, satisfies the primary need to survive  in turn also affect how I perceive, think and feel as proposed by Freud “The home is a womb, it is a place whence we all emerge and to which we like to return for safety, warmth and substance”(2017, pg. 17). To me reflection of such places exist between factual and fictional interpretation of urban interiors through painting approach.

In international era, when it comes to Interior lifestyles today people tends to seek ideas from other places, cultures and times. I am fascinated by the linking of spaces through which the body travels between cultures. This coexistence served to coalesce simplistic conception of cultural melange is further evidence in artist Njideka Akunyili Crosby patterned interiors. According to environmental psychologist Hauge(2018) home spaces are the most important places in people’s life, and therefore the most important places to influence identity. They described place identity as a “pot-pourri of memories, conceptions, cultural interpretations, ideas, and related feelings about specific physical settings, as well as types of settings” (1983, p. 60).

In book headspace it is found via a survey that space, an individual inhabit reinforce identity through objects whence I consider highly personal display are in balance with the need to express an aesthetic sensibility as well as personal influence could also be revealed because I think we reveal our belief system by the choices we make.


In much the same way I extrapolate  my grounding in oriental and western painting pedagogy, overlapping traditional experience with present time to invent a new pictorial language that represent my experience while becoming a self-observer to myself and  persist to observe conception of organisation, proximity and belonging in a networked world.


On employing tranquil scenarios in my paintings I want to address the notion of observation of the way one desire to live, often laced with extreme control of colour, spatial dimension plus engaged with the fundamental principles of formalism  ranging from classic, biophilic design to modernist furniture. Further the aesthetics of wallpaper design came from many different sources – medieval, miniature, ceramics hermetically intrigues me as a distinctive feature of aesthetic decorative scheme assigning constructive geometric marks to the arrangement.

When thinking about emotional value  from an interior perspective – it is well articulated in ‘The Architecture of Happiness’ (2006), in which philosopher Alain De Botton stated about how good surroundings; the kind of walls, ceiling, neighbour inspire us, conversely how bad adjoining cause alienation.


In the book “Philosophy of interior design” Abercrombie affirm (1990, p.3)… “interiors have a power over us that facades can never have”. Perpetually I am convinced with this fact that interiors not barely are spaces I spent more time in, besides interiors surrounds me, I just don’t pass through a space, I inhabit them . It is not a homogeneous space, but a complex entity capturing specific concerns of the interior discipline. Here, when the term space is used contextually, it is an understanding that ‘the interior space’ is quite specific to my own métier of domestic interior; Home.


Alicja Kwade's WeltenLinie (2018)


At the exhibition at Hayward Gallery “Space Shifters”, I witnessed the ambiance as a sense of a liminal space, as familiar images are twisted and subverted into complete minimalism. As I move around and through Kwade’s steel-framed structure and a house of mirrors, The stillness of the room and the scene’s quiet tension suggested an intermission of a moment between walls, to be alone with one’s thoughts acted as a dramatic scene to see the surroundings objects in transforming materials as the perspective shifts.


1.10  Model of Villa Arpel from Jacques Tati’s 1958 Oscar winning modernist home (2018)


Symmetrically  “Home futures” the show at design museum presented enthralling tour of modern concepts of home as a response to the prevailing fascination and aspiration with home and housing and the relationship between past , the present ambiguously, Other time seen in  “living smart” and ideas behind work like – Villa Arpel from Jacques Tati. It is very subjective but I think this is evident to the fact that despite supposedly labour saving technology has aided the housing business, people still spend the same amount of time indoors as we did 50 years back because home represents security, hope, questions who I am, moreover directs my practice with its wide range of context.

Subsequently  Edward Hopper analysis his painting more than a manifesto of a uniquely American aesthetic; they represented something personal, the expression of his “inner experience” as he described it (2019). Accordingly Patrick Caulfield pictorial interjections grant me confidence in deploying a visual language of familiar objects and non-existent  spaces in real through which I believe one is encouraged to make a metal journey. These influences ultimately feed  a welcome scope in my work where calculated degrees of opacity in line activate a slippage illusion between flat surface and three dimensional depth of space besides an apparent jar of emotive mood in interior painting.

In contrast to the radical compositional simplification, the linear drawing itself is a hypothesis to an confounded complexity, many of these spatial elements are very subjectively customised from new and outdated magazines.

Fitly the intention to a way of alluding  discovery to a state of simple correlating aesthetic enjoyment concurrently with offering harmonious compositional veracity is anticipated to draw into enraptured spatial puzzle.







Abercrombie, S. (1990)  A philosophy of interior design. Oxford: Westview Press. p.3.

Artsy (2019) Understanding Edward Hopper’s Lonely Vision of America, beyond “Nighthawks”. Available at: (Accessed: 10 December 2018).


De Botton, A. (2006) The Architecture of Happiness. Amsterdam: Atlas.

Hauge, A.L. (2018) Identity and Place: A Critical Comparison of Three Identity Theories1. Available at: (Accessed: 4 December 2018 ).

Home Futures (2018) [Exhibition]. Design Museum. 7 November 2018 - 24 March 2019.


Keedwell, P. (2017) 'The home from inside out', Headspace: The psychology of City Living. Great Britain: Quarto Publishing PLC, p.17.

Keedwell, P. (2017) 'The home from inside out', Headspace: The psychology of City Living. Great Britain: Quarto Publishing PLC, p.17-18.

Kwade, A. (2018) WeltenLinie [Installation]. Space Shifters, Hayward Gallery London.

Njideka Akunyili Crosby (2019) Njideka Akunyili Crosby- Work. Available at: (Accessed: 21 November 2018).

Proshansky, H. M., Fabian, A. K. & Kaminoff, R. (1983). Place-identity: physical  world socialization of the self.  Journal of Environmental Psychology, p. 60.

Space Shifters (2018) [Exhibition]. Hayward Gallery. 26 September 2018 – 6 January 2019.


Tati, J. (2018) Villa Arpel from 1958 Oscar winning modernist home  [Installation]. Home futures, Welcome Collection London.








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