Jasmir Creed (B.1990) Park Life

Jasmir Creed (B.1990) Park Life title, signed and dated '2022' verso oil on canvas, framed 70 x 90cm (27 9/16 x 35 7/16in). Footnotes: ''My interest as a painter began based on my journey, the cultural diversity of people, iconic buildings and sculptures, alongside self-portraits and new materials.' Jasmir Creed is a Manchester-based artist whose practice revolves around urban alienation and transcultural shifts in contemporary society. Drawing from her British South Asian heritage, she often positions herself as a flâneur, amidst bustling cities across England. After completing a Foundation course at the Manchester Metropolitan University, Creed proceeded with her BA and MA from the Wimbledon School in London in 2015. She is presently pursuing a practice-led PhD at the Slade School of Fine Art in London. For the auction, Creed presents a self-portrait titled 'Park Life'. Tracing the genesis of the work, she reveals an affinity for parks as liminal sanctuaries, transitional spaces, and repositories of memories–an interstice where memory banks crystallise amidst the urban cacophony. The deliberate positioning of herself on the right side of the canvas symbolises a rhapsodic departure from the depicted terrain, forging a silent dialogue between self and surroundings. Creed also explores the emotional undercurrents of isolation during the COVID-19 lockdown. 'The photograph was taken of me in my bedroom and was montaged. The landscape is painted in an impressionist style. The face is in a very cubistic cultural form. The cubistic feel of the face directly contrasts with the impressionistic landscape. There are a lot of contrasts in the colour combinations as well, such as the warm colour of the face with the combination of coldness of the blue sky in the background,' Creed says. 'Park Life' whispers tales of solitary sojourns, of finding solace in isolation, echoing the shared experience of dwelling within enclosed spaces. With hands softly entwined, a countenance of equipoise is etched up her visage–a tranquil expression that mirrors the introspection within. 'I was interested in how time seems to be slower in parks as compared to the hustle and bustle in the city. The reason why I painted myself on the right side of the painting, is because I wanted to separate myself from the environment,' she pauses. 'It's quite small scale as well. Sometimes small-scale works can be deeply immersive. My hands are clasped together showing a neutral expression. The painting references my adventuring from an interior to an exterior environment of spending time in isolation during the COVID-19 lockdown. While the painting might not convey these detailed thoughts, it might connect with the similarity of being indoors. The image holds many different conclusions based on who's viewing it,' she says. While retracing her formative years, Creed fondly recalls memories steeped in museum visits orchestrated by her parents, who were artists as well. 'I enjoyed studying paintings and going to galleries. I also really enjoy catching theatre, people's facial expressions, and the bustling environment of the city,' she says. Upon building on these years of passively viewing the environment around her, she began reflecting on urban disconnection and the intermingling of diverse cultures, drawing inspiration from her heritage and immediate surroundings. 'My interest as a painter began based on my journey, the cultural diversity of people, iconic buildings and sculptures, alongside self-portraits and new materials.' At the core of Creed's process lies the use of photographs, capturing seated figures and cityscapes. 'As a starting point in my work, I work with montages to create a juxtaposition. The reason I use montages in my work is because it invokes different possibilities and you don't know where the work will go.' After employing montages as a springboard, she embraces the unpredictability, allowing the work to evolve through drawings. Inspiration for her work also comes from frame stills in films. 'I'm interested in the way frames in the films are combined together and how different worlds can be shown as well. I use painting to construct spaces which are then filled by figures.' Film frames, especially those crafted by Satyajit Ray and David Lynch, play a significant role in shaping her inspiration. Looking ahead, the artist envisions an exploration of deeper personal narratives, charting new territories for her landscapes. Creed seeks to peel back the veils cloaking existence, exposing its complexities–while encapsulating the quintessence of multifaceted encounters, transposing them on canvas through the montage-painting method. She is particularly motivated in expanding her repertoire through a continued inquiry into the human experience while capturing the symphony of urban echoes, cultural nuances, and intimate introspections. For further information on this lot please visit Bonhams.com For further information about this lot please visit the lot listing