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SUMMER SALON 01 BRITISH PAINTING : DISPOSITION
March 18 - March 31
SUMMER SALON 01 British Painting
Curated by Marguerite Horner
Exhibiting Artists: John Atkin, Franki Austin, Day Bowman, Luke Caulfield, Claudia De Grandi, Alex Hanna, Kaori Homma, Ben Johnson, Graham Martin, Sneh Mehta, Kate Mieczkowska, Alan Rankle, Rob Reed, Katherine Russell, Sarah Shaw, Andrew Stahl, Judith Tucker.
MARCH 18 – 31
Disposition is defined as an arrangement of things in relation to each other. While the relationship between artists, their practices and the perception of audience are not always empirically definable, this exhibition attempts to bring together a group of artists whose common link is that, they are all contemporary practitioner living and working here and now, and endeavouring to put the ether into material form, each in their unique and individual way, their consciousness manifest through material process to be experienced by the ‘other’- the viewer who brings their own associations.
Merleau-Ponty states: ‘precisely because Painting does not ‘copy’ things, and because it does not offer things to thought as does science but presents them immediately and bodily, in their depth and movement, that painting gives a true sense of the world and what it means to see it’.
John Atkin deploys a clear physicality to the artworks through the use of collage alongside materials such as Perspex. The use of digital media together with traditional methods of practice has permitted an experimental approach to the application of colour and form used in preparatory drawing and prints.
Franki Austin‘s work revolves around Dartington Hall in Devon and on the international community of artists who were living and working at Dartington in 1930s. This research led the artist to value the relationships and interactions between artist, community and place.
Day Bowman is a painter whose work lies on the axis of figuration and abstraction. In her current body of work she confronts and questions our notion of the coast and the seaside and asks ‘is it now more border than holiday destination?’
Luke Caulfield’s work is founded on instable, shifting, temporal elements and perceptual uncertainty. The work seems to toy with the idea that he may not be making a work of art himself but instead making a “documentation” of other works of art.
From 2017 onwards Claudia De Grandi has been concentrating on large scale paintings based on her studies and observations of the sea, from the shores of East Sussex and Northern California.
Alex Hanna‘s work is based around arrangements of objects, materials and surfaces. Much of his work has been about the painting as both an illusory device and simultaneously an object.
Kaori Homma uses Invisible ink made with lemon juice to render images, altering the delicate balance of paper. For the artist, the resulting image contains a level of fragility and notion of death within it by nature.
Ben Johnson He is best known for his paintings based on architectural spaces (some almost forensically accurate, others heavily manipulated) and his large-scale, intricately detailed cityscape.
Graham Martin is interested in the ideas which shaped the original social and architectural concepts of development, the dystopian themes associated with it today and the inevitable entropy to which it has succumbed.
Sneh Metha current series ‘Psychological Portraits’ is an exploration of the intangible in the human condition through ‘moods’, ‘emotions’, ‘relationships’ and ‘states of being’.
Kate Mieczkowska is a British born artist inspired by history, politics and the world around her. Her work often explores identity in terms of nationality and gender.
Alan Rankle is an artist and curator whose work explores historical, social and environmental issues informed by his interest in the evolution of landscape art.
Rob Reed practice re-evaluates the everyday scenery and the discovery of its symbolic qualities which can present an environment for solitary contemplation for audiences.
Katherine Russell tries to dissimulate a fraction of the mass of imagery that we encounter on a daily basis. Her work looks at how we as individuals, inevitably engage with these images on a personal, subjective and an emotional level.
Andrew Stahl ‘s process is based around his personal experience. Andrew Stahl has exhibited frequently in London and the UK and widely internationally across Europe, Asia and America. He is a recipient of many awards Scholarships and residencies.
Sarah Shaw’s process revolves around the building up and stripping down of imagery, exploring different painterly languages then reducing down to the lowest denominator.
Judith Tucker‘s work explores the meeting of social history, personal memory and geography; it investigates their relationship through drawing, painting and writing.
MARGUERITE HORNER Time Keeps Slipping
MARCH 18 – 31
Our minds slip in and out of linear time, bringing memories, thoughts and beliefs that exist outside of linear time into the present as we recall.
This body of work originates from the recalled reality of my personal experience which acts as a metaphor for my internal world with which I explore notions of transience, intimacy, loss and hope.
‘For the only equivalent of the Universe within is the Universe without’.