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Do Not Touch

Inspired by the boring plastic chairs in the studios, I wanted to bring painting and excitement to the everyday. Although non-functional, I imagined it to be a satirical sculpture in a home-like how a painting is put up in walls in your living room.

Chaotically Controlled

This wall relief is one of my earliest work and what I started with before progressing into installations. I started introducing objects into my work inspired by Michael Craig-Martin and Jessica Stockholder to camouflage it in with the shapes, focusing only on its interesting forms and forgetting its function.


With the same idea of bringing painting to the every day, I covered an already printed manufactured wallpaper with hand-painted dots to contradict its perfectness with chaotic and arbitrary colours.

The Spaces In Between II

I see my installations as broken paintings or paintings brought to life, it has what a simple canvas contains; the wood frame and paint, however, I have broken it apart and taken it off the wall for it to be able to stretch onto space, to be seen and not disappear or camouflage onto the white walls again.

Colour Shadows

Exploring how to create colour without using paint, I decided to use cellophane and light to create 'Colour shadows'. This idea was used for the 'Landed: Chroma' exhibition.

Jilianne Louise Acebuche

Through my work I celebrate colour, materiality, abstraction and most importantly painting’s fluidity through immersive installations in an attempt to abandon the canvas and create something more interactive for the viewer. They can walk around the artwork to analyse, investigate the many different materials and shapes presented making my art work a hybrid between installation and painting.

My installations are abstract paintings alive attacking the space where I completely dismantle the canvas or frame to a more deconstructive presentation of how I’m trying to understand my work itself as well as to solidify it. In my research into 'Zombie Painting' I have found out that painting has been deemed dead and underestimated too many times throughout history, my work proves the painting’s resurrection breaking it out from its traditional rules of staying on wall and canvas- it’s time to attack the space. I wanted to break the boundaries between different areas of art and bring them all together piece by piece as an installation with colour and painting which is the glue that sticks everything together. My installations demanded territory and an audience for it to be analysed and interact with but in a way were without being able to touch it, see the different materials and compartments of what makes a painting, a painting. I see my installations like a playground with its inviting colours that remind you of toys and curiosity

Just like with painting, colour is often feared and underestimated by people as they associate it with childishness or the use of it is too amateur and arbitrary; I play with this notion and purposely be playful and random but at the same time show its fascinating effects on materials, shape or how it can change the way my audience behaves around my installations. Colour in itself creates this atmospheric quality, it almost feels independent from the material it’s on but allows it to be its amplified version.

Used to planning final pieces, my current work allows me to break the rules and become more playful, accepting that it can never be planned out. There is a sense of spontaneity in the process of constructing it together in a blank space, but there is still this constant communication between me and the materials from my urge to be in control of its outcome. You can never create the same colour with any paint just like my work can never be recreated, it will always look different each time even with the same fragmented pieces. There is something playful and fun about constructing together an installation because of its chaoticness and challenges. Painting is quieter, peaceful and focused; there is interesting harmonic collusion between the two practices, control and chaos, which I always try to balance.

The materials I use are lightweight and easy to get your hands on for the purpose of the rejection of a fixed outcome, this way my work can be packed up, moved around and changed easily. The advantage of using these types of materials is that they can easily be manipulated and painted; painting and colour are good at masking a material’s form and texture. I like the fact that a bold red could hide a long sheet of cellophane’s fragility and make it look like a solid material.

I discovered that even though you strive for the outcome, the process is just as important and must be enjoyed by the artist- it is able to surprise you more than you think it can. My work always feels like an investigation, it teaches me new things with every installation I create; it’s the constant problem solving and exploration to marvel at new materials, colours and shapes. It allows me to be a kid again.

Final year project

Dismantling Painting