10 Questions with Jemima Charrett-Dykes

Jemima Charrett-Dykes is an artist whose output is primarily autobiographical, drawing from experiences in childhood and the aftermaths of psychosis as a result of Complex Post-traumatic Stress Disorder. Using art-making as a therapeutic outlet, Jemima's work often references her past and the traumas linked to her body both physically and mentally.

She operates across multiple mediums, ranging from photography to painting to ceramics, all of which are thematically linked through visions of childhood, the female body andexploration of "The Self" and psyche as the main subject.

@jemimacharrettdykes

INTERVIEW

When and how did you start getting involved with art?

I’ve always had an interest in photography; when I was a child, I’d make films on our family video camera and loved using disposable cameras to take photographs of everything and anything. In school, I studied A Level photography, which is when I really started to become serious about making things. I went on to study photography at university, and moving from a small town in Cornwall to London was really eye-opening; I was introduced to galleries and artists I never knew existed. It wasn’t until graduating that I turned to painting and became involved in exhibitions and publishing my work.

Womb, oil on canvas, 18x22 cm, 2022 © Jemima Charrett-Dykes

Are you still following the same inspiration? And how did your work evolve over time?

There are definitely a handful of artists who have consistently been a source of inspiration for me since the beginning, albeit from the themes and their approach to art rather than from an aesthetic standpoint- David Lynch, Derek Jarman, and Louise Bourgeois. My work has definitely evolved to become a lot more abstract. Though remaining autobiographical, the storytelling within my output has become less lucid, and I believe I’m encouraging my audience to follow a less linear narrative than in my first projects.

Let’s talk about your work. You work with several mediums, from photography to painting to ceramics. What inspires you to work with a specific medium? And how does your work change based on the medium you use?

I think what draws me to working with different mediums is that I can express different things through different materials. Self-portraiture is useful in that I often have a specific feeling and idea that I want to evoke, whereas when I paint, I focus less on a certain point and more on portraying something metaphysical. Although each project is telling its own story, I would like to think that by viewing each series I produce as one, combining the mediums I’ve used, the themes and feelings communicated create one overarching narrative that ties them all together.

How would you define your style? And how has it evolved over the years?

I always find it difficult to answer this question, as I’m not sure if there’s one word that defines the style of work that I make. I’d probably call it abstract with an undertone of surrealism. I still use similar starting points for my work to the ones I used when I started creating work- I tend to use certain moments in my life as springboards- but the execution has changed in that I plan the finished result less and produce work a lot more organically and fluidly.

Body as Home, silver gelatin print, 2023 © Jemima Charrett-Dykes

Masks, silver gelatin print, 2019 © Jemima Charrett-Dykes

What is your creative process like? Do you have a specific routine or a set of actions, or do you work more spontaneously?

I work spontaneously, often beginning a project due to an emotion I’m feeling or a moment in my life that I’m reflecting on. As I start to create, the ideas form and become less elusive, forming into something more solid. Whilst using the materials with this abstract initial idea in mind, I’m usually unconsciously drawing out what I wish to express. Eventually, this forms a series where the different branches of the idea or emotions are explored, creating a narrative that I’m discovering along with the viewer.

In your statement, you recall how art-making is a therapeutic outlet for you. Can you discuss how art is helping you overcome your past traumas? And how do you think this can help other people in your same situation?

When I create work, I often give form to feelings that I feel are abstract and that I struggle to put into cohesive sentences. I heavily lean into my subconscious when I am painting, holding space for ideas and imagery to come naturally rather than thinking about a specific “thing” that I wish to express. I think art can be harnessed as a form of therapy for everyone, whether it be interacting with materials solely for the calming effects or creating art as a form of psychotherapy. I feel the act of making art can be really powerful for those like me who suffer from trauma, as creating an introspective piece is often easier to face in comparison with talking about and revisiting traumatic experiences head-on.

What do you hope the public will take away from your work?

My work deals with quite heavy themes, but I hope that by showing my work to the public, I can contribute to the normalisation of these topics. My art focuses on mental health and themes that might usually be seen as “uglier” parts of life, but I feel they are important to discuss and explore. I would like to think that if a viewer cannot relate to my experience, my artwork may assist them in garnering empathy towards those who have been through the same things as me. It’s important to me to stay true to myself and not leave out parts of my experience that I may be ashamed or embarrassed about so that people who have been through similar things to me can resonate with the work and even find comfort in it.

SOFT SPOT, mixed media, 22x18 cm, 2023 © Jemima Charrett-Dykes

What are you working on now, and what are your plans for the future in terms of new projects?

I’ve recently had my poetry published for the first time, which has encouraged me to concentrate on my writing a lot more. However, I’m about to start my biggest and most ambitious project so far. I’m heading to the South of France for a residency in the summer, where I’m aiming to create a series of large-scale paintings along with a video piece that will include archival and found footage as well as my own work. Each project that I have released so far has been a sort of vignette into a stage of my life. In this project, the aim is to create something that tells the whole story so far, from childhood to adolescence to adulthood.

Do you have any upcoming shows or collaborations you are looking forward to?

I am showing new work in Paris next month, in an exhibition called The Kaleidoscope of Art. It will be my first time showing my painting outside of the UK, so I’m really looking forward to that. I’m also very slowly putting together a self-published book that will include new photography and poetry alongside entries lifted from my diary, but I think it will be a slow burner as it’s a very introspective project, so I’m trying to approach it as gently as possible.

Finally, what is your biggest goal for 2024?

I’m not one for New Year’s resolutions, but at the beginning of the year, I decided I wanted to really focus on myself through writing consistently, reading, and creating. I’ve made a conscious effort to keep checking in with myself, and it’s been helpful so far. The piece that I hope to produce during my residency is my biggest work goal for this year- it’s going to be my biggest and largest scale project so far, which is exciting if not a little nerve-racking at the same time.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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