AT: Where are you from and how/why you start engaging to art?
SS: I grew up in London. I have alway been interested in making things from a very young age. I found school hard, so I would go to great lengths trying to distract teachers from my inability to read by making sure all my homework was presented as hand drawn storyboards that you couldn’t really shout at me for. Both my parents are creative so, growing up in London I was exposed to shows from a young age, some I refer to today as landmarks in expanding what I believed art was, like the 2012, ‘Patrick Keiller: Robinson Institute’, show at Tate Britain, that I’m still obsessed with.
AT: When did it become serious?
SS: It became serious when I knew that I could talk about my experience and understanding of an artwork and be able challenge my work in reflection. Being able to go to the Slade allowed me to be exposed to such a spectrum of work that my development came from consistently confronting my taste and rejection of specific aesthetics.
AT: Are there any person that have been significant in your progression as an artist?
SS: Working with Edoardo Monti has been irreplaceable, he has given me support straight out of art school and has protected and taught me away from my own naivety and paranoia. And Alastair MacKinven who was my tutor who would be present and understanding in conversation with me where i’m trying to trick him into talking about fake paintings I’ve made and sit with me qualifying and explaining my position back to me.
AT: What’s your first approach to the work? Could you describe your practice?
SS: Research and Drawings. I paint large scale narratives tied to hyperbolic bodies, I try to use scale as a form of intimacy and contact, focusing on the libidinal power of unterminated desire. Rejection and objectification in their distinctions within the abject sexual body.