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But then ‘without awkwardness’, Hempton says, the process ‘just becomes about making a painting again’.It’s as if self-consciousness – something that even the most eager users of Chatrandom, not coincidentally, lack – is, for the artist, a luxury antithetical to creativity.Hempton asks random men if she can paint them, and then, brush in one hand and typing with the other, she depicts as much of the on-screen feed as the subject’s patience – or arousal – allows.To see and be seen: this aspect of Chatrandom is compulsive, trance-like and occasionally aggressive.In 2014, she had solo exhibitions at Southard Reid, London, and Lorcan O' Neill, Rome, Italy.Getting into college is unfortunately much easier than getting out with a diploma.
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Like the film’s protagonists, Hempton seeks wisdom in trespass: whether navigating the heavily sexualized, masculine virtual space of Chatrandom, breaking into ex-industrial sites to sketch, or painting in the ash-thick air at the rim of the Stromboli volcano.
Even as a child – a self-described tomboy – on walks in rural Wiltshire, Hempton and her father would dare each other to eat an unidentified mushroom, say, or walk the length of a rickety jetty.
What Hempton seeks, rather, is the chance to paint from an ‘interesting position’ – in this case, the fascination, rage, hilarity or whatever it is that ensues from watching your partner turned-on by someone else.
‘What I am looking for when painting’, Hempton says, ‘is a situation more important than the painting itself.’ For her series ‘Chat Random’ (2014–ongoing), which was first shown at Southard Reid in London in 2014, the artist utilizes Chatrandom.com, which connects global users via webcam – usually for the purposes of masturbation.