Samantha Helena Allflatt was born in Vevey, Switzerland in 1981 to an English father (guitar maker Trevor Allflatt - see links), and a Greek/Swiss mother in a family of artists, among which the English painter John Crome.
At 19 she left her home country to study Film and Television at Brunel University, in Uxbridge, North West London.
In 2002, she quit Brunel and applied for a Foundation diploma in Arts and Design at Central St Martins College of Art and Design, specializing in moving image (film and video art) still dreaming of a career in film.
She was accepted on a BA in Fine Art at Central St Martins in 2003 where she experimented with 2D media such as paint, photography, photoshop, collage, and drawing.
She graduated in July 2006, and lives between London and Switzerland.
I am interested in psychological analysis. Through my work, I aim to explore how automatic drawing can help reveal the subconscious self, unveil or resolve traumas, and produce portraits, or landscapes, of the mind.
What comes out of my practice is a blend of doodles, collage, automatic writing, and obsessive drawing. I am interested in the way these elements work together to form those mind maps, through either conscious or unconscious decisions.
By using collage to incorporate images from fashion, cinema, popular culture and the animal kingdom, I interweave the outside world with my own inner world.
I often use text to express what the drawings cannot, but also to create a contrast, or a distance from the pleasant and attractive lines of the drawing. The text can be interpreted in two ways. It either describes what lies on the surface or what is at the bottom of my trauma.
Each drawing is led by its own rule. Nothing is planned or predictable. Everything is a succession of chances, free association, mistakes and impulses, yet there is a certain level of control is the execution.
As I go along, I incorporate images that I feel could provide a narrative or which all share a certain quality or theme. The drawing stops when I am satisfied.
Drawing and doodling is for me a way to channel dark, negative emotions, as well as anxiety; an anxiety that is due to perfectionism, which is seen in the meticulous, labour-intensive nature of the work.
All the elements work together to form a cluster of information that is not just representative of me but also of how I make sense of and cope with the environment I live in, contemporary society, and mass media.