Sunday, July 20, 2014

Priseman-Seabrook Collection

I am very pleased to announce that my paintings Olga 1, 2 ,3 are now part of the Priseman-Seabrook Collection.

The Priseman-Seabrook Collection of painting highlights work produced by artists practicing in Britain in the 21st Century.

Evolving from the work of these artists is a new 21st century aesthetic that has a particular resonance; a painting pursued as a singular activity experienced uniquely by each artist within the context of their own social networks and interactions.

Olga 1, 2, 3 - oil on canvas

Saturday, July 19, 2014

Catching up and Close Encounters

I have at long last been able to update and freshen up this blog. It's been a long time coming!

Here are a few images from the Driver & Dowse: Close Encounters exhibition at GASP that took place at the end of May this year.

Triptych and Closer - oil on canvas

Evie x 4 - oil on MDF
Evie x 17 - oil on MDF
Collaboration: Jeannie Driver & Natalie Dowse - mixed media

Exhibition text:
Driver & Dowse: Close Encounters
Departing from Platform 1 on the 10:54...


Jeannie Driver and Natalie Dowse reveal work made in response 
to their joint visits to London exhibitions.

Friends and colleagues Jeannie Driver and Natalie Dowse have shared connecting studios for two years at Art Space Portsmouth. Although their practices and methodologies manifest in different ways, through their working relationship they have explored commonalities in their work, and importantly, an awareness of the significance of process and repetition, and issues that often engage them in conversation in the studio.

The artists regularly take trips to London together, visiting exhibitions and enjoying the debates, issues and questions that arise.

The idea for this exhibition first ignited from one particular 10:54am trip, with the first destination being White Cube in Bermondsey: Chuck Close Prints: Process and Collaboration.

This exhibition celebrated, revealed and focussed on the developmental stages of Close’s works, through the processes of printmaking, tapestry, paper pulp images and paintings shown in succession - often in various different stages - or with repeated imagery, alongside a film documenting processes in Close’s studio. This engaged Driver and Dowse in a long conversation on the train journey home.

‘In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.’ Chuck Close

The works in the exhibition are not collaborative, but are linked by this inspiration. As a result of the dialogue which subsequently developed, the artists compiled a lexicon that relates to both of their practices, and which provides a framework for this exhibition. The works presented together for the first time, in one space, enable the viewer and the artists to draw connections and disconnections between their work and practices. 

Jeannie’s series of works celebrate the ‘gallery’ as a space for the activity of looking: of passive interaction, a space that presents artworks to inspire cerebral activity and visual delight. The Saatchi Gallery, Wilkinsons and White Cube all present themselves as public spaces with their monumental scale. The aesthetics of the architecture is seductive, the banality of white walls and neutral floors hold in themselves the idea of possibility. Photographing artworks and exhibitions appears to be controversial; on the one hand, a public gallery in the UK may not allow any photography, but on the other, it may be possible to photograph the same artist’s work in commercial galleries, art fairs and even institutional galleries abroad. Jeannie is interested in these dichotomies and her work engages in the current debates of authorship and copyright. 

Jeannie’s artworks in this exhibition have been created from photographs taken in commercial galleries. The gallery space, artworks and audience members are shredded and layered in the studio to create new works that encourage the viewer to consider the act of viewing and their role in the gallery itself. 

Natalie presents a series of paintings where she has used the same ‘selfie’ portrait of a family member. This repeated motif is constructed in a variety of different ways. She has utilised the pixel as a painting device, with various levels of detail or ‘resolution’ that relate directly to the digital photograph, and this, and repetition of process, are also reflected by her use of cross-stitch. She has also made a series of 29 small portraits that start with this same primary source and takes it through a spectrum of reworking to the point where, in some cases, the image becomes almost completely obliterated.

Natalie has repeated and re-created this motif, re-visiting, developing and degrading this one image, to a stage where a single photograph suggests new, multiple personas.


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