• Wet Paint, A group exhibition

    Wet Paint

    A group exhibition 25 September - 25 October 2020 Wet Paint explores the narrative of abstract painting through the work of eight emerging women artists with stylistically varied practices. These artists approach abstraction from varying angles, telling a story that ranges from a focus on the formal qualities of paint to exploring deep expressions of self. The exhibition aims to voice the nuances that exist in painterly language and its place in the world of contemporary art.
  • Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

    Lee Krasner
    • Francesca Mollett, Graze, 2020
      Francesca Mollett, Graze, 2020
      £750
    • Kate Dolan, Lay Your Troubles, 2020
      Kate Dolan, Lay Your Troubles, 2020
      £3,000
    • Selin Uyar, Prosperpina and the Sea Nymphs (ode to M. Parrish), 2020
      Selin Uyar, Prosperpina and the Sea Nymphs (ode to M. Parrish), 2020
      £2,100
  • Fleur Simon's paintings are concerned with Edmund Burke’s concept of the sublime in nature, exploring its paradox between the beautiful and the overpowering.  Dripping epoxy resin and pigment onto wooden boards on the floor, Simon references ‘action painting’ to create impulsive paintings, partially reliant on chance.

    Layering the works and adding pigments at different stages, she explores depth, moving between feelings of endless space and claustrophobic boundaries. The fluidity of the material and pouring method envision the nature of emotion; the spaces in the works fluctuating between the natural and the surreal, the suffocating and the tranquil. By drawing on Christian religious imagery of the afterlife, Simon's paintings serve as windows into spiritual spaces; their reflective surfaces embedding the viewer into the landscape.  

  • "I make a lot of things. somE people call it painting, some say its textiles, sculpture or installation. But I would mostly define it as ‘wildness' ...

    Its beauty is seen through the complexities of the unknown. The unsystematic, rural, ruggedness of a space that is hidden in the uncertainties of what you might find. The layers of old trees and soil with the explosion of new flowers and weeds all growing alongside one another at different speeds, volumes, heights, textures and so on. Whilst all coexisting under the guise of painting."

     Emily Moore explores the term ‘wildness’ in contemporary painting. She investigates this term both through how it speaks to her own approach within her practice, but also the state of contemporary painting with the lens of art history and its current context within the immediate conversations surrounding painting. In her own practice, an explorative sense of wildness takes form through brush and paint, yarn and weaving or play and performance.  All is rooted in the notion exploration. Everything is intuitive and bucks the system of the previous moves, or the surrounding current body of work 

     

  • Francesca Mollett's paintings are akin to streams of consciousness that convey how she perceives daily reality. : ''My paintings always evolve out of a personal experience with a particular place and landscape, that is both intimate and outward in its concern with how we have the potential to be transformed by a sensory relationship with our natural surroundings. I often want the boundary between the human and the natural to be entangled, dissolved, destabilised in the paintings, through qualities of corporeal marks, geological textures and meteorological transparencies. I work from multiple drawings that I layer imaginatively together into one painting, reacting to what the paint suggests to form visual understandings and connection. I look for possibilities of where the painting can travel by analysing its surface''

     

    Influenced by material feminists, Mollett imagines the human intermingling with the more-than human, using corporeal marks, geological textures and meteorological transparencies. Each mark has an agency that create their own edges and resist one another using oil and acrylic to create tense and luminous surfaces.

  • Connie Burlton begins her creative process with touch, creative contact being her initial approach to making. Themes of innate physicality, materiality and tactility of the painting process provide a potent antidote to the ubiquitous screen and the progressively intangible digital age.  

     

    Burlton is motivated by the potential of her medium which consists chiefly of oil on canvas or calico. She mixes oil paint with solvent so it has the consistency of ink and allow it to seep through the weave of the canvas beneath the surface and onto the reverse side. She then engages with this seepage as the ground of the painting, often allowing it to dictate the placement of the additional forms and therefore the overall composition. Wavering between spontaneity and control, traces of accidents oppose more deliberate mark making.

     

    Once familiar with the potential of her material, the artist introduces a distance by surrendering authorial control and giving way to chance and spontaneity. Burlton’s paintings demonstrate an inter-dependent relationship between artist and form, holding a dialogue with her material by making painterly gestures and awaiting physical response. The resulting paintings hold a vibrational energy, placing them within the framework and rich history of abstract expressionism.

     

     




  • '‘I want people to float away in my paintings. I like to think of them of other worlds, where colours play together and take you to wherever you want to go.  I want the painting to feel alive, colours flowing from one to the next without any awkwardness or question of them being there. The relationship between colour & brushstroke must make total sense to me and sometimes that happens in an instant, others take months to get right. Someone once described one of my paintings in this series as a creature and I liked that a lot. I love the idea that the painting is breathing somehow.''

     

    Kate Dolan’s expressionist works reveal captured moments, slices of time representing instants of clarity where an experience or emotion were seized. Dolan is heavily lead by emotions which transcends into her expressionist style. An abstract colourist, Dolan uses raw, unspoilt landscapes to define her colour palettes which she treats with sensitivity and extreme consideration. Dolan’s work has taken a new direction since lockdown, with more prominent mark making in oil stick and pastel, providing a texture that grounds the surface within a sea of colour.

     

  • Selin Uyar’s paintings use gestural brushstrokes to create an abstract language that mirror bodily gestures and create a deconstructive reading. Selin uses this process to self-reflect, experiment, and explore her works as 'a second chance' to take a step back away from reality and observe, focusing on decoding experiences and symbolic gestures. This also includes an implicit narrative, formed under the idea of 'auto-censoring'. 

     

    ''Every single thing I make is mnemonic, like photographs. Instead of telling a story to make someone understand, I tend to hide behind. I like to use symbolism when I want to limit the audience. Maybe it’s auto censoring or just the freedom of changing my mind to share it. It reminds me of the same process of unknitting again like ‘unsaying what I just said’. Being fully understood by the audience isn’t the greatest of my concerns, I guess. Not long ago I have come to realise that this is caused by my tendency to hide what I like to expose at the same time.''

  • Alyina Zaidi paints magical landscapes that are partly inspired by dreams and memories, and partly imagined. The colours in her paintings are mostly influenced by colours found in Mughal and Persian miniatures. She works on a range of surfaces including paper, board, plexiglass, and canvas, featuring immersive worlds which draw the viewer in.

     

    ''Desire and loss are key themes in many of my works right now.  Some of my paintings try to depict fragments of memories of the landscapes of Delhi and Kashmir (where my grandparents are from). Sometimes I long to go back and live in these remembered landscapes. There is a turbulence which can be seen in my constantly moving landscapes. I am not quite sure where this turbulence comes from but I think it has to do with feeling a sense of loss.''

     

  • Marr’s relationship with her creative practice is one she describes as being of great 'intimacy’. Perhaps this points to her creative process; during which time, she encourages her subconscious to take the lead - and guide her on a completely unplanned journey, resulting in unexpected, organic and original work.

     

    ''I tend to work with a variety of surfaces and materials. When painting, I always work on an unprimed canvas. This way I am able to create a stain like technique, where the paint seeps deeply into the canvas fabric. By doing this, I am able to achieve a dye like form on the fabric, which I love. Occasionally, I will check the underside of the canvas which I have been working on and prefer it. By doing this, a new work has taken shape without me consciously knowing. When working with paint, either acrylic or oil, I always thin it down to create a fluid consistency. By doing this I am able to create textures and shapes, which otherwise I wouldn’t have been able to achieve. It is always exciting to work in this way, as outcomes of your painting technique are so out of your control. I love the mailability of paint and how flexible it is. It can be sticky, thick impasto and textured or incredibly subtle, translucid and fluid. This spectrum of paint is littered through my works with a diverse range of painting techniques.''