An artist concerned with human inter-connectedness, and the interplay between the personal and the universal as expressed though the material of pigment.
I start with the way in which pigments leave material colour across human history and geography leaving traces of our interactions. The projects chosen have resonance with the now. The form of the work is abstract spaces to fall into. I make oil paints by hand from the relevant pigments.
Each collection has an historic or geographic specificity: I have visited the 20,000 year old cave paintings in Pech Merle and learned about the material traceability of ochres and that a prehistoric artist might have travelled long distances: Researching the British Library archive I found the historical spread of cobalt based glass and glazes through archaeological finds, which illustrated the expanse of cultural exchange during classical and pre-classical times. Researching the pigments listed in the Bristol Library’s Presentiment Papers (1770Jan-June), I found evidence of transatlantic indigo just like St Katharine’s (see below) , but also of madder, ochre and verdigris in a little pocket of peaceful trade between the European wars. I looked through The Admiralty papers at the National Archive, to find pigments in ships captured by privateers during the Anglo Dutch Wars. Inspired by Turner’s Slave ship I have researched the pigments imported into St Katharine docks at the time of the abolitionist movement, and found indigo, a slave trade product, making it a colour of exploitation as well as beauty: I have looked at the evidence of Turner’s palette at the Tate, for the new pigments, at the turning point from a predominantly Colonial and alchemical to an industrial and scientifically based society. Always looking in these points of change for relevant echoes of our current flux.
The form my work takes is abstract spaces, spaces to fall into to get lost and to remember. I owe a debt to twentieth Century artists for the freedom to play in these colour fields, to Rothko and Frankenthaler, to Kandinsky, to Sonia Delaunay and breakthroughs with colour as substance. But also to the unnamed Church painters of the Middle ages for whom pigments had their own symbolism. Technically the medieval dislike of palette mixing, which was a question of material interference, echoed for me in retaining the integrity of a pigment for the story which it holds. And to the developments of oil painting by the Northern Renaissance artists and into the Southern Renaissance, and the technical traditions of glazing which allow me to layer and lends me understanding of paint as a suspension of pigments which can be layered like strata.
My understanding and expression come through the exploration of these colour traces of our thought and history and the way in which the material holds its own story. That we must remember our human story, how we got here, how this society came into being and what the costs were is a given. There is a sense in which these colours hold more than the formal record, they hold nuance and space for connection, for potential and extant symbolism and for the stories never told.
CV & Education
Representation as of 2018: Curious Duke Gallery, Highgate Contemporary Art Gallery, Why Not Art, Luminaire Arts, Saatchiart and Artful
Summer Exhibition, Curious Duke Gallery, Whitecross Street, London EC1Y July-August 2018
East Finchley Open Art Houses, and 8 House No 17 June 30/July1 and 7
The Other Art Fair, Bristol , the Passenger Shed, Bristol July 26-29
Roy's People Art Fair, Bargehouse Oxo Tower Wharf, London 1-4 November 2018
From the Archive, Highgate Contemporary Art Gallery, 26 Highgate High Street, London
Roy’s People Art Fair, Barge House Oxo Tower Wharf, 12-15 April 2018
Ideal Home Show- London, Why Not Art stand - digital display and catalogue 17.3-2.4.18
Trace Elements, Deptford Does Art Gallery, Deptford High St, London 8-28 Feb 2018
Private view 8.2.18 7-11
In conversation with Sarah Needham, Paul Anderson Morrow and Matthew Gould, hosted by Rosalind Davis 24.2.18 7pm
Tower 42, Old Broad Street, London EC2N 1HQ . with Artful.com October 2017-March2018
SFSA Painting Open 17, No Format Gallery, Arch 29, Rolt St, Deptford, London, UK SE8 5JB Private view 7 December 7-18 December
Roy's People Art Fair, Islington, London14-17th September 2017
Creekside Open 2017, Jordan Baseman Selection, APT Gallery, Deptford London 2017
The Thames The ARTery of London, Devon House St Katharine Docks 4-18 December 2016
Talented Art Fair, The Truman Brewery, 17, 18,19 March 201
Sugar and Spice, Commodity Quay, St Katharine Docks, July-August 2016
Both Ends of Madness, Sassoon Gallery, Folkestone July 2016
Nautical Perspectives, Plastic Propaganda, St Katherine’s Dock 1-14th May 2016
Refuse Reuse, Kensington, Pocket Arts 2015
Microtopia, Kingsgate Workshops, West Hampstead 2014
Microtopia, Kingsgate Workshops, West Hampstead 2013
Work held in Private Collections UK, Australia and Japan.
Education: Graduated in Fine Art and Education from HAtfiel Polytachnic 1989. Masters degree in Development Studies from South Bank University 1994. Post graduate non certificated study in Chinese traditional ink painting techniques (Southern School) with Prof Ding, formerly of Jiangxi Normal University, in Nanchang in China 1995-7.