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Rachael Adams’ practice is, in part, an investigation into a perceived problem of ‘memory as evidence’ in recounting personal histories. The spaces that emerge in her work present an interpretation of a threshold – as a defined geographical and emotional space – created to explore and map stories and their anticipated outcomes.

Pattern, fragmentation and layers describe or imply themes of absence, social stigma and accounts of both the reliable, and the unreliable, witness. The painting process is broadly improvised, with areas of canvas often left thinly covered whilst other parts are built up over a period of time.

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