Approved: 05.12.2006

Christine Stark

Artist

Approved: 05.12.2006

'What is the essence of a pair of pants? (if there is such a thing) Certainly not that crisp and well pressed object to be found in department store racks; rather that clump of fabric on the floor, negligently dropped there when the boy stepped out of them, careless, lazy, indifferent. The essence of an object has some relation with its destruction.' (Roland Barthes) I am interested in those

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  • Location: London
  • Activities: Studio practice
  • Categories: Painting
 
 

Biography

'What is the essence of a pair of pants? (if there is such a thing) Certainly not that crisp and well pressed object to be found in department store racks; rather that clump of fabric on the floor, negligently dropped there when the boy stepped out of them, careless, lazy, indifferent. The essence of an object has some relation with its destruction.' (Roland Barthes) I am interested in those random choices that we make, the small ones...Which seat on the bus? Randomness is central to the making of the work. The first marks are frivolous, filling in a space. The next; spontaneous, arbitrary meanderings, conscious and unconscious. Pouring and dragging the paint allows large areas to be covered quickly, or rather, covered with the control and ease of an area much smaller and also allows the unexpected to occur. As the layers build up, the depth grows, they seem to have their own logic and the painting, its own internal momentum. The paint takes on a fugitive nature, the paintings; a fugitive vision, like snapshots, fragmentary glimpses. The marks made later on, the ones with more clarity, are analogous, perhaps, to punctuation. The final mark, the full stop at the end of the chapter. The elements are not so important in themselves. It is how they relate to one another, where they are placed, (or rather, where they are not placed) how they are placed and when. The rhythm, the timing, the absent minded watchfulness. (Anton Ehrenzweig) What is left behind (the finished painting) is a residue, an evidence of an existence, an existence which is full of abandoned intentions, tensions, surprises, necessities. A broken down truth.

CV & Education

Qualifications and training 1994 - BA Hons in Fine Art (Painting), Chelsea College of Art, London Solo exhibitions:  2015 - A selection of paintings, Peters & Peters Solicitors, London. 2001 - A Selection of paintings, Grey Worldwide, London Group exhibitions - 2015 - RA Summer Exhibition, London.   2015 - Creekside Open (selected by Richard Deacon) APT Gallery, London.  2013 - Creekside Open (selected by Ceri Hand), APT Gallery, London.  2010 - Crash Open (selected by Charlie Dutton, Matthew Collings and Dan Hays) , Charlie Dutton Gallery, London.  2009 - Creekside Open 2009 (selected by Mark Wallinger), APT Gallery, Deptford, London.  2007 - Creekside open x 2 (Selectors - Matthew Collings and Emma Biggs, APT Gallery, London.  2003 - Artfutures, The Contemporary Art Society, London. 2003 - Exploring the theme of colour, The New Ashgate Gallery, Farnham, Surrey 2002 - Summer Exhibition, Royal Academy of Art, London.  1997 - Absolute Secret, Royal College of Art, London.  Competitions, prizes and awards 2006 - John Moores 24 - shortlisted, Walker Gallery, Liverpool. 1998 - Natwest Art Prize - shortlisted, London.  Other 2007 - Art Auction (the Medical Foundation, for the victims of torture), The Building Centre, Store St, London