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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 practice 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, p.573). My paintings are a reflection on the now, documenting the subconscious, 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 and in this way creating a more dynamic painting where the marks are much larger and more visually striking. 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 subconscious. 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 spontaneous. I work with these subconscious 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 allows for a diverse range of marks and a provoking 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, p.589). 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 reference to Frankenthaler’s work that ‘of all elements of painting, colour is the most unstable because it is fundamentally relational’ (Rowley and Pollock 2003, p.56). 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, so much so that I intend to continue to explore this further within my work. 


Gottlieb, A. (1947) ‘The American Avant- Garde’, Art in Theory 1900 – 2000, in Harrison, C and Wood, P. (ed.) USA: Blackwell Publishing, p.573. 

Rosenberg, H. (1952) ‘The American Avant – Garde’, Art in Theory 1900 – 2000, in Harrison, C and Wood, P. (ed.) USA: Blackwell Publishing, p589. 

Rowley, A and Pollock, G. (2003) ‘Painting in A Hybrid Moment’, Critical Perspective on Contemporary Painting: Hybridity, Hegemony, Historicism, in Harris, J. (ed.) UK: Liverpool Tate Gallery, p.56. 

Tate (2019) Abstract Expressionism. Available at: (Accessed: 9 May 2019). 

Commissions are welcomed - please see link.

For any additional information please email - 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 - | | Telephone - +44(0)20 3903 6393.

Fence Gallery, 3 Lansdown, Stroud, Gloucestershire, GL5 1BB United Kingdom. Website - | | Telephone - +44(0)7855 865972.

Previous Representation

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


2023 - The Pink One. Fence gallery, Stroud, United Kingdom.

2023 - Spring. Fence gallery, Stroud, United Kingdom.

2022 - Prevail. Fence Gallery, Stroud, United Kingdom.

2022 - Renew. Fence Gallery, Stroud, United Kingdom.

2021 - Autumn Exhibition. Fence Gallery, Stroud, United Kingdom.

2021 - Aestas. Fence Gallery, Stroud, United Kingdom.

2021 - Winter. Fence Gallery, Stroud, United Kingdom.

2020 - Transcendental. Fence Gallery, Stroud, United Kingdom. (Click here for further information).

2020 - Loughborough University Degree Show 2020. Group Exhibition. Loughborough University, Loughborough, Leicestershire, United Kingdom. (Click here for a virtual tour of the exhibition).

2020 - Spring Exhibition 2020. Fence Gallery, Stroud, United Kingdom. (Click here for a virtual tour of the exhibition).

2020 - Line_You've Crossed it. Group Exhibition. 5th March 2020. The Welcome Mat Gallery, Loughborough. United Kingdom.

2020 - Visual Impact. Group Exhibition.13th February 2020. MTC Coventry, Coventry, United Kingdom.

2020 - Alyssa Dabbs: Subconscious Realism. Solo Exhibition.10th January - 14th February 2020. Sewell Gallery, Radley College, Abingdon, Oxfordshire, OX14 2HR. (Click here for a virtual tour of the exhibition).

2019 - Cotswold Christmas, Old Farmhouse Gallery (Zuleika Gallery), Charlbury, Oxfordshire, United Kingdom.

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 - Landed, Shirley Pearce Square, Loughborough, United Kingdom.

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

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

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

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

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

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


'One to Watch', Loughborough University Degree Show 2020 Enterprise Award. Loughborough, United Kingdom.

'Edward Sharp Prize', Loughborough University Degree Show 2020. Loughborough, United Kingdom.



2020 - Meet the Artist. Subconscious Realism paintings by Alyssa Dabbs. Friday 14th February 9am - 1pm. Sewell Centre Gallery, Radley College, Abingdon, OX14 2HR. 

2020 - Artist Talk. Radley College, Abingdon, OX14 2HR. 

2019 - Artist Talk. Sir Thomas Rich's, Gloucester, GL2 0LF.

2019 - Artist Talk. Sir Thomas Rich's, Gloucester, GL2 0LF.

2018 - Artist Talk. Sir Thomas Rich's, Gloucester, GL2 0LF.

2018 - Artist Talk. Sir Thomas Rich's, Gloucester, GL2 0LF.


House and Garden (2023) House and Garden. Publication date: 5th January 2023.


Ox In A Box (2020) Emerging Artist Alyssa Dabbs. Avaliable at:

Art Rabbit (2020) Subconscious Realism. Available at:

Abingdon Arts (2020) Subconscious Realism paintings by Alyssa Dabbs. Available at: 

Good on Paper (2019) Alyssa Dabbs Art Fence Gallery (Issue 53). 

Art Rabbit (2019) Age is Just Number.  Available at:

Hafton and Kelly (2019) Age is Just a Number at Zuleika Gallery: A Review. Available at:

Jackson's Art Blog (2019) Art Exhibitions: July 2019. Available at:

Art Rabbit (2019) Alyssa Dabbs Art: Fence Gallery. Available at:

“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.


Loughborough University (Epinal Way, Loughborough, L11 3TU) - BA Hons Fine Art - 2017 to 2020.

Loughborough University (Epinal Way, Loughborough, L11 3TU) - Art and Design Foundation Diploma Level 3, Distinction 2016-17

Affiliations and Memberships

A-N Artists Network, Joined 2017.

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