My approach to painting is to use it, like a prosthetic limb, to apprehend the World.
Painting shapes your consciousness; there is nothing like it to help develop, convey, push and pull ideas.
Thematically, my interests lay in the workings of things; a specific technology, an architectural space, or painting itself, all of these things inform my research agendas. Motifs that recur in the paintings include transhuman beings called ‘Stooges’ that teeter on precarious platforms, attempt to interact with peculiar machines, or are crushed by ‘creative blocks’ tumbling from the sky.
Narrative is important as a spring board into painting, however, I like the idea of this being partly obscured, or left behind, as the mechanics of painting move along. In this way, the works always have a self reflective character; glimpses of narrative are intertwinned with evidence as to how the painting is constructed.
The worlds I attempt to create, are at once humorous, critical and aloof. My intention is for viewers to ‘watch’ them, as if they will move when your head is turned.
I have worked with many arts and research organisations, some of which include 2021 Visual arts centre; Lincolnshire, Institute of General Semantics; New York, Media Ecology Association; Bologna/Michigan, Estate of Francis Bacon; London, UK City of Culture (Hull 2017) , Feral Art School and ‘Rethinking Civil Society’ at the University of York.
‘Through painting, Dom Heffer’s work underlines the importance of self-reflection in creative processes. The work is thought provoking, humorous and kinetic; combining a feeling of urgency with a sense of deep deliberation.’
Martin H Levinson PhD, Author and President – The Institute of General Semantics, New York
‘In Dom Heffer’s work we find ideas illustrated in ways that tease and celebrate the boundaries of painting in an epoch dominated by the moving image.’
Bruce Kodish PhD, Author ‘Dare to Inquire: Sanity and Survival for the 21st Century and Beyond’