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Artist Statement

By examining my painting process, paying particular attention to the decisions that I make whilst painting I have concluded that my work and style of painting lends itself to the ‘gestural brushstrokes’ and ‘spontaneous mark making’ that characterises abstract expressionist works (Tate, 2019). According to Tate there are two broad groupings within abstract expressionism; action painters and colour field painters. Tate describes action painters as those ‘who attack their canvas with expressive brush stokes’ (Tate, 2019). My practise is largely focused on the expressive marks that I make. I believe that my work shares similar characteristics with action painters. I study the work of abstract expressionists such as Jackson Pollock, Helen Frankenthaler and Willem de Kooning, alongside contemporary artists such as Fiona Rae and Julie Mehretu in order to analyse all aspects of painting.


Adolph Gottleib stated that ‘so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time’ (Gottlieb, 1947). My paintings are a reflection on now, documenting the unconscious, capturing emotions and feelings through choice of colour and expressive mark making. I am continually inspired by the scale of other artists work such as Julie Mehretu and Cy Twombly. I often experiment with scale in my work in order to explore whether the size of the canvas affects the expressivity of the marks made. Working on a larger scale allows my marks to become free flowing and expressive enabling me to use my whole body to create the marks instead of just my hands and fingers creating a more dynamic painting where the marks are much larger and more visually striking. In order to increase the variety of marks on my canvas I often experiment with different tools. I am interested in the idea of automatic marks in their purest form. I want to capture the purity of the marks and to distinguish the shapes and forms of the unconscious. In order to achieve this, I began making my own brushes with detachable ends and extra-long attachments. This has allowed my marks to become automatic and unknown. I work with these unconscious and unknown marks back and forth to build the canvas. I also create variety in my marks using methods such as using my non-dominant hand and painting with different orientations sometimes using the floor and other times twisting and turning the canvas and working from a height. Varying my methods when painting allow for a diverse range of marks and an interesting and dynamic painting.


The following statement by Harold Rosenberg on abstract expressionist action painters was the catalyst for the development of my work. ‘The painter no longer approached his easel with an image in his mind; he went up to it with material in his hand to do something to that other piece of material in front of him. The image would be the result of his encounter’ (Rosenberg, 1952). I approach all of my canvases and experiments with this thought in mind and can now conclude that my paintings are reactions to my previous actions and marks. These reactions are unknown and the unpredictability and control of the marks are varied dependent on the materials used. 


I am particularly inspired by the work of Helen Frankenthaler. I am drawn to her subtle yet vivid colour palettes and their ability to evoke strong emotions. Alison Rowley stated with refence to Frankenthaler’s work that ‘of all elements of painting, colour is the most unstable because it is fundamentally relational’ (Rosenberg and Pollock, 2003). I have studied this in relation to my work and have found that different paintings represent and resonate uniquely with each viewer. Questioning this further I found that the colours and shapes often represent and trigger different emotions and memories making abstract expressionist work highly personal and emotive. I am fascinated by the way marks, colours and shapes can represent, symbolise and resonate something so personal with the viewer and I intend to continue to explore this further within my work.

Commissions are welcomed - please see link.

For any additional information please email - info@alyssadabbsart.com or get in touch via the contact section of the website.

Current Representation

Zuleika Gallery, 6 Masons Yard, St James's, London, SW1Y 6BU United Kingdom. Website - www.zuleikagallery.com | info@zuleikagallery.com | Telephone - +44(0)20 3903 6393.

Previous Representation

NYA Gallery, New York City (NY), United States of America. Website - www.newyorkart.com | Telephone - 646-961-1796.

Current Exhibitions:

Cotswold Christmas - 4th to 22nd December 2019. 


Old Farmhouse Gallery, Sheep Street, Charlbury, Oxfordshire OX7 3RR



Wednesday - Friday 12 - 5 pm

Saturdays and Sundays 11 - 4 pm

"Limited edition prints, posters, sculpture and ceramics by some of the most celebrated artists in the world, alongside work by Oxforshire artists and artists from the Zuleika stable.

Artists whose work we will show include Howard Hodgkin, Nigel Hall, Barbara Hepworth, David Shrigley, Alyssa Dabbs, Peter Care, Sam Wadsworth, Rachel Gracey, Harriet Eagle, Robyn Hardyman, Nadine Bell, Norman Ackroyd, Antony Gormley, Elizabeth Blackadder, Martin Creed, William Scott and Sandra Blow among others.  We will also included some of the original posters produced in 1950s by Picasso, Cocteau, Miro and Calder from Mourlot editions." For more information please visit Zuleika Gallery website www.zuleikagallery.com.


2019 - 'Age is Just a Number', Zuleika Gallery, London, United Kingdom.

2019 - Art in the Park Cheltenham, United Kingdom. 

2019 - Fence Gallery Stroud, United Kingdom.

2019 - Shirley Pearce Square ‘Landed’ Loughborough, United Kingdom.

2019 - MTC Coventry ‘Making a Mark’ Coventry, United Kingdom.

2018 - The Welcome Mat Gallery ‘All 2 Human’ Loughborough, United Kingdom.

2018 - The Welcome Mat Gallery ‘DD/MM/YYYY’ Loughborough, United Kingdom.

2018 - Saatchi Gallery ‘Saatchi Screen’ London, United Kingdom. 

2017 - ‘Loughborough University Degree Show’ Loughborough, United Kingdom.

2016 - The Gallery ‘Transitions’ Loughborough, United Kingdom.


Good on Paper: Issue 53. August 2019.

'Age is Just Number' Art Rabbit. July - August 2019.

'Age is Just a Number at Zuleika Gallery: A Review' Hafton and Kelly. July 2019.

'Exhibitions on Now' Jackson's Art Blog. July 2019.

“Vogue’s Gallery” British Vogue. July 2019. Publication date: 7th June – 4th July 2019.

“Vogue’s Gallery” British Vogue. June 2019. Publication date: 10th May – 6th June 2019.

“Vogue’s Gallery” British Vogue. May 2019. Publication date:  5th April – 9th May 2019.

Affiliations and Memberships

A-N Artists Network, Joined 2017.