Louisa Chambers graduated with an MA in Painting from the
Royal College of Art (2005-2007) and a BA in Fine Art (First Class Honours) at
the University for the Creative Arts, Farnham (2001-2005). She has
exhibited her work throughout the UK and has been a finalist in competitions
such as Nottingham Castle Open 2015, Nottingham Castle (Purchase Prize
Winner, Nottingham
2015), Creekside Open, APT Gallery (London 2015), Paint Like
You Mean It at Interview Room 11 (Edinburgh 2014), Zeitgeist Open (London 2012)
and John Moores 25 at the Walker Art Gallery in (Liverpool 2008).
Recent exhibitions
include: Autocatalytic Future Games, no format (London 2015), In Miniature,
Small Collections Room, Nottingham Contemporary (Nottingham
2015), (detail) at H Project Space (Bangkok 2014) Transition Gallery
(London, 2014) and The Usher Gallery (Lincoln 2014-2015), Pareidolia,
Pluspace (Coventry 2014), Water Colour Revolution, Winsor and Newton,
Saatchi Gallery (London 2014) About Painting at Castlefield Gallery (Manchester
2014), Stereoscope at Mrs Rick’s Cupboard, Primary (Solo- Nottingham 2013),
Rotation at New Court Gallery (Solo- Derby 2013), Flatland at Blyth Gallery
(London 2012) and Needle’s Eye at BayArt Gallery (Cardiff 2012) and Transition
Gallery (London 2012).
Her artworks are held in private and public collections
nationally. She is currently Artist-in-Residence at Repton School in Derbyshire
and an Associate Lecturer at Nottingham Trent University.
‘They don't look like part of the real world and yet they are of
things. But the things she is depicting don't have real forms – such as could
be described by a directional light – and they are not subject to an earthly
gravitational force. If you were to divide painting into figurative, surrealist
and abstract, then Chambers' paintings would be a Venn diagram of all three.
The subjects being depicted in themselves have become abstracted before they
even caught her eye. They are machines of the imagination – forgotten
inventions and subverted visions of a world driven by technology...’ Ruth
Solomons.
