Thursday, 26 June 2014

#AboutPainting

Castlefield Gallery, Manchester

Curated by Lisa Denyer

 
20 June 2014 – 29 June 2014
 
About Painting brings together eight painters from across the UK who employ a breadth of approaches to contemporary abstract painting. Their work ranges from the highly structured and pre-planned to more spontaneous painterly language.
 
Abstract painting is by nature ambiguous and open to interpretation. It doesn’t pertain to any single subject, and has the capacity to represent a multitude of thoughts, feelings and visual stimuli. It enables an engagement with the fundamental nature of the world through perceptive means. Dialogues, synergies and tensions are created, and polarities of colour explored on a given surface, often evoking a sense of recognition. Every experience a painter informs the making of a painting, just as the viewer can’t separated their subjectivity from their interpretation.
 
Painting continues to be relevant because it is not convoluted or arbitrary, but honest and immediate. The process of painting is reliant upon the discovery of new possibilities. It involves being responsive, exploring the properties of the medium to its full potential and allowing investigation into the multi-faceted characteristics of paint.

Andy Parkinson’s review of the show on his blog patternsthatconnect
 
Watch on artplayer tv Lisa Denyer discussing about her practice and curating About Painting at Castlefield Gallery.
 
Below are installation views taken from About Painting. You can see more images on my Flickr page.


 
(Right) Sound Reflector, Louisa Chambers, 2012

 
Sound Reflector, Louisa Chambers, 2012, Acrylic and oil on canvas, 70 x 60 cm
 
 
(Left to Right) Terry Greene and Anne Parkinson

 
Neighboring Ground, Terry Greene, 2014, Acrylic on canvas, 35 x 25 cm
 
 
(L to R) Bright Gifts, Claudia Böse, 2010, Oil on linen, 70 x 50 cm and Living in a Daydream, Matthew Macaulay, 2014, Oil on board, 40 x 40 cm
 
 
Cover, Andy Parkinson, 2013, Mixed media on PVA coated paper on wood panel, 35 x 35 cm

 
Paintings from the Cornish Coast series, David Manley, 2013-2014, All acrylic on linen, 10 x 10 cm
 
 
(L to R) Adventures in Naples Yellow, Terry Greene, 2013, Acrylic on canvas, 35 x 45 cm and Relocation (I), Claudia Böse, 2010, Oil on board, 40 x 50 cm

 
Installation view (L to R) Lisa Denyer, Louisa Chambers, Matthew Macaulay and Claudia Böse 

 
(L to R) Terry Greene, Andy Parkinson, David Manley, Louisa Chambers

 
(L to R) Louisa Chambers and Claudia Böse

 
(L to R) Lisa Denyer and Louisa Chambers

 
Untitled (Cherry), Lisa Denyer, 2014, Acrylic and emulsion on found plywood, 31 x 27 cm
 
 
(L to R) Lisa Denyer and Matthew Macaulay
 
 
Windows, Matthew Macaulay, 2014, Oil on board, 40 x 40 cm
 
 
Installation view (L to R) Terry Greene, Andy Parkinson, David Manley, Matthew Macaulay and Lisa Denyer
 
 
Contra Check 2, Andy Parkinson, 2014, Mixed Media on PVA coated paper on canvas, 50 x 50 cm


Thursday, 5 June 2014

Colour/Systems


Facadé, 2014, mixed media collage, 38 x 25 cm


Open Close, 2014, mixed media collage, 38 x 25 cm



Overlap, 2014, mixed media collage, 29 x 44 cm
 

Signal, 2014, mixed media collage, 38 x 25 cm


Q & A, 2014, mixed media collage, 38 x 25 cm


Mis-Shapes, 2014, mixed media collage, 42 x 28.5 cm


Mellow, 2014, mixed media collage, 36.5 x 32 cm


Confrontation, 2014, mixed media collage, 30 x 42 cm

In our studies, colour paper is preferred to paint for several practical reasons. Paper provides innumerable colours in a large range of shades and tints ready for immediate use. Though a large collection is needed, it is not expensive to assemble when one does not rely on large prepared paper sets representing specific colour systems, such as the Munsell or Ostwald Systems (the least desirable are “tuned” sets, claiming to be failure-proof).
 
Sources easily accessible for many kinds of colour paper are waste strips found at printers and bookbinders; collections of samples of packing papers, of wrapping and bag papers, of wrapping and bag papers, of cover and decoration papers.  Also, instead of full sheets of paper, just cutouts from magazines, from advertisements and illustrations, from posters, wallpapers, paint samples, and from catalogues colour reproductions of various materials will do. Often a collective search for papers and a subsequent exchange of them among class members will provide a rich but inexpensive colour “palette”.
 
Albers, J, (2013) Interaction of Colour (4th ed.) New Haven and London: Yale University Press

Wednesday, 4 June 2014

Paint Like You Mean It, Interview Room 11, Edinburgh



Installation views of Double Decker in the competition Paint Like You Mean It at Interview Room 11, Edinburgh. The show continues until the 14th June and is open Monday to Friday 4 – 7 pm, Saturday 11 – 2pm. 
Please see the website: Paint Like You Mean It for more details.


 Paint Like You Mean It, IR11, Edinburgh 2014 (l to r) Double Decker- Louisa Chambers, So Beautifully Doomed– Henry Finney, London Artist (David)– Enzo Marra, Mermaid and Spear –Michael Branthwaite


Paint Like You Mean It, IR11, Edinburgh 2014


Paint Like You Mean It, IR11, Edinburgh 2014
(l to r) Double Decker- Louisa Chambers, So Beautifully Doomed– Henry Finney


Paint Like You Mean It, IR11, Edinburgh 2014
Double Decker, 2014, 70 x 80 cm, oil and acrylic on linen


Sunday, 1 June 2014

About Painting

Claudia Böse, Louisa Chambers, Lisa Denyer, Terry Greene, Matthew Macaulay, David Manley, 
Andy Parkinson, Anne Parkinson

Curated by Lisa Denyer

Venue: Castlefield Gallery, 2 Hewitt Street, Manchester M15 4GB
Preview: Thursday 19th June 6–9pm
Exhibition continues: Friday 20th June – Sunday 29th June 2014


Terry Greene, 'Adventures in Naples' 2013, Acrylic on canvas, 35 x 45 cm

“The aim of art, so far as one can speak of an aim at all, has always been the same; the blending of experience gained in life with the natural qualities of the art medium.” 
– Hans Hofmann

About Painting is an exploration of contemporary abstract painting. The exhibition documents systems based, highly structured pieces as well as those demonstrating a freer and more spontaneous language.

Painting is about being in the moment, exploring the properties of the medium to their full potential and allowing investigation into the multi faceted characteristics of paint. Abstraction is an engagement with the fundamental nature of the world through perceptive means. It is ambiguous and open to interpretation. It doesn’t pertain to any single subject, and has the capacity to represent a multitude of thoughts, feelings and visual stimuli.

Painting continues to be relevant because it is not convoluted or arbitrary, but honest and immediate. The painting process is reliant upon intuitive processes and the discovery of new possibilities. It involves being responsive, analytical, and fully engaged with the materiality of the medium. Dialogues, synergies and tensions are created, and polarities of colour explored on a given surface, often evoking a sense of recognition.

Every experience a painter has informs the making of work, just as the viewer brings their own knowledge which informs interpretation. In this exhibition, the viewer is invited to consider the decision making involved in the creation of a painting in terms of a series of significant events that align to form the compositional whole.

About Painting is part of Castlefield Gallery's Launch Pad exhibition programme.