Similarly, the gouache on paper work Untitled (Colour Kitchen) began as a way to sustain the memory of something transient: in this case, a gift of roses from a friend. In drawing the roses, Clements found her work expanding through the desire to capture the roses’ immediate surroundings: a table, a lamp, the wall and the pictures on it, a patterned curtain. The work’s voraciousness – its apparently inexhaustible hunger to immortalise visual pleasure against the omissions and slippages of human memory – makes it a testament, of sorts, to the joys of looking. In Clements’ work, everything connects: the drawn line is like a thread that binds the present to the past.

Text by Ben Street