“But now I’ve reached a point where I made so many of them that those feelings are still there, but much more complicated.” Here, Hempton’s talent lies in her ability to capture her subjects in the fleeting moments spent together online, carefully reproducing the dull light from their monitors and even the pixelated effect of dodgy webcams.
The paint is thick, the colours are somber, and the figures are often blurred and difficult to read, turning some of the images into abstract compositions.
What Hempton seeks, rather, is the chance to paint from an ‘interesting position’ – in this case, the fascination, rage, hilarity or whatever it is that ensues from watching your partner turned-on by someone else.“To make these paintings I put myself in certain situations where I am forced to deal with and analyse my instinctual feelings”.Her most celebrated body of work, “Chat Random”, was first shown at Southard Reid in 2014.(2015), for example, is lithe to the point of quivering: the tangerine background playing against the plummy brown of the subject’s pouchy testicles, ice-green strokes giving swell to his buttocks.Yet, there is an evacuated quality, too; the larger expanse of skin carries an anaemic cast. The frontal framing of buttocks in (1980), but the comparison serves to show up the former’s odd docility, the subject aimless in his blue surroundings.