For Rachael Freeman, painting is a little romantic and a little apocalyptic. Each work rides the line between euphoric bliss and impending doom. Enter into her carefully executed and choreographed fields of paint as they lead you along paths whose destination is the point at which they disappear or culminate in a pool of paint. Exploring interior and exterior space, Freeman creates a surreal world, but one that is related to the real one. She paints landscapes and anatomy, but neither is obvious amongst collaged-layers of paint that are only ambiguously suggestive. The convergence between these physical places and bodily forms reflects the complexity of experience in the world.
Sediment is about the natural exterior world, but also the human interior. Erosion and melting are physical occurrences in nature but can also be sensations of being and feeling. Feeling like we might be washed away, or dissolve into a pool of molten material on the ground. Planes of colour spilling spontaneously over each other are contrasted with clean-cut lines that ensure there is not too much mix or overlap. The instinctive and uninhibited are set against desire for control. This is enhanced by her exploitation of the paint, which is in some places wild but in others meticulously applied. There is also contrast in her multiple layers of collaged paint that produce an uncannily flat screen-print-like finish. Freeman takes you into her world, which appears familiar in many ways, but also confronts you with the reality that you have no idea where you are.
Words by Isabelle Morgan