Colette LaVette British, b. 1992

Her practice borrows attributes from Rococo aesthetic, characterised by elaborate and ornamental decorations, lightness, a delicate chromatic palette and a focus on the fantastical. Yet, while fascinated by the gentle romanticism and opulence of this style, the artist is concerned with grounding her narratives in more accurate representations of what it means to be human in its primordial sense. To achieve this, LaVette looks back on our roots, at who we were at the very beginning of humankind, before societal constraints became the norm, exploring our more animalistic and carnal qualities.

The artist's aim is to provoke in the viewer a sort of visceral introspection, using the exploration of the concept of 'Primitivism' to prompt the audience to think about our disposition outside of societal rules, reconnecting to nature and consequently to ourselves and the people who came before us, as well as to those who will come after.

This notion of Primitivism is evident in all aspects of LaVette's oeuvre, from her choice of colours and medium, to her compositions and influences. Most notably, LaVette employs a plethora of natural pigments which, being taken directly by nature, emulate the muted tones that accompanied mankind in its evolution and in some cases were even used in prehistoric cave paintings. Nature courses through the work, interweaving human and environmental forms. Wind, fire, leaves, and petals swirl within the compositions, merging with figures and fabric. The use of the latter is particularly striking - both man-made and organic, fabric's rhythm conveys movement, time, and the interplay between civilisation and the wild. The drapery is reminiscent of Rococo excess yet behaves like natural elements - smoke, clouds, waves - suggesting an eternal dance between the wild and the man-made.

Colette LaVette's work features in private collections in the UK, US, Europe and Asia; these include, amongst others, Raffles OWO Ballroom, London, La Fantasie, Paris, Paul Smith, London and a large mural in The Hoxton Hotel in Shepherd's Bush, London.