Charlie Franklin’s practice is rooted in the language of materials, and collapsing the distinction between sculptural form and the painted surface. She approaches her work as a series of experiments, where knowledge is gained through doing, to see how colour, material and scale communicate. The act of covering is important to this process, transforming the skin surface of pre-existing forms such as cardboard boxes or sheets of tarpaulin. These core materials become masked and misshapen as they are coated, collaged, painted or gilded. As layers build up, the behaviour of colour is considered as it mingles, meets, and sits together.
Often the work hovers between two and three dimensions, as space is occupied and territory marked. Transmuting and slipping between categories is central to Franklin’s research, as she negotiates the shifting positions between experimentation and ritual, presence and absence, and the matte and metallic. Suggestive of alchemy and the everyday, her work meditates on the physicality and charged atmosphere created by communing with materials in the studio.