Rebecca Gosling’s art practice explores Aphantasia, a condition which results in reduced or absent mental imagery. Identifying as an aphantasiac artist, she aims to investigate the imagination’s boundaries with her work also acting as compensatory depiction of the real world. She continually aims to find new ways to push the boundaries of contemporary painting in order to explore this newly named mental condition.
Primarily working in acrylic paint, surface and texture are explored through layering whilst removing the border of the conventional canvas. There is a focus on the figurative as this is where her recall is the most limited. This is centred on the autobiographical and familial portraiture. Rebecca struggles with the loss and isolation that comes from the inability to visually imagine friends and family. Her art practice is an authentic, personal outlet and form of self-expression, often unintentionally incorporating contrasting colours, distortion and illusion to represent the unknown element of the condition. Whilst informing herself, the aphantasiac art and concurrent theory practice also exists as an educational tool to raise awareness of Aphantasia.
Tabula Scalata Series:
The Anamorphoses Series represents an aphantasiac's mental blindness. It aims to reform a portrait from a distorted image using a reflective cylinder, instead of having the original image and distorting it.
Aphantasiacs are not necessairly at a disadvantage; they are able to formulate a mental image from fact and distinguishing features. In the Circular Series, portraits are able to be viewed despite the missing information.
Diverging from the usual artistic approach, the Intricacy Series is created from movement maps, fleshed out into their own presences. An aphantasiac may retain more information about an individual's posture of movement than generic details.
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