Between States
Katherine Midgleys drawings are governed by the effects of nature on built structures. Midgleys drawings crystallise the progressive breakdown of materials when left to nature’s devices. Subtlety and disaster mingle in the overlapping and disjointed environments that are created across the surface. A sense of mapping and documentation is evident within the intricate use of visual sources that Midgley so carefully selects for each piece. From decadent polished interiors of stately homes to the obscure concrete defence structures of pillboxes, Midgley finds that using a combination of opposing sources forms a stimulating dialogue that she continues to revisit and develop.
James Parkinson approaches painting as an open, contemplative language. Parkinson builds uniform structures and geometries formed from thin veils of colour. Often there is a moment of departure, where the painting may veer off, and what has been set up is altered or at times damaged. What results is something problematic, bringing into question issues of revision and repair. He says of his work that he 'attempts to find a visual language that addresses how our relationship with the observed changes over time.' His paintings reflect his ideas that nothing is the same twice; through active observation of object or source we will find different outcomes and meanings with each new engagement.
Seamus Green’s paintings address intention, deception and layering. Through the overlapping of fragmented visual information Green constructs an environment of intent and purpose; however his paintings ultimately crumble into abstract moments leaving the work in an unsettled state. His interests in the staggered unravelling of information found in crime dramas is reflected in his work as the paintings, over time, reveal hints of representational clues. Formed from opulent sources such as Islamic and Baroque architectural structures, Greens paintings drift from their origins to allude to more humble situations like railway bridges and cluttered spaces.
Through archways, industrial architecture and composite landscapes, each of these artists offer the viewer an enticing non-space that is open to be interpreted, engaged with and re-invented. ‘Between States’ brings together paintings that evoke fictitious landscapes where three-point perspective is abandoned and the laws of physics no longer apply, to drawings that suggest cold and suffocating environments with fastidious application. A sense of instability runs through the core of the show with an exploration of a liminal zone that lies in the space where abstraction and representation dissolve into one another. The exhibition is a platform for the artists to investigate the rules, nature and dynamism of the collapse between these two visual states and the resulting position where both may exist.
James Pimperton’s landscapes are riddled with interruptions and jumps in painterly language that simultaneously deny the paintings synthesis as a constant view, exploring a heterogeneous and unstable dimension. Pimperton addresses the three principles of making visual work, the first representation, the second abstraction and the third materiality. These mechanisms within his paintings are transformative in character and cause representational passages of the painting to be eroded, consumed, processed or deconstructed. The state of the landscapes begins to throw up abstract forms derived from material application which in turn transform back into new representational forms. This cyclical process of degeneration, transformation and regeneration is one evident across nature, culture and, self-referentially, the creative practice of painting.
James Pimperton’s landscapes are riddled with interruptions and jumps in painterly language that simultaneously deny the paintings synthesis as a constant view, exploring a heterogeneous and unstable dimension. Pimperton addresses the three principles of making visual work, the first representation, the second abstraction and the third materiality. These mechanisms within his paintings are transformative in character and cause representational passages of the painting to be eroded, consumed, processed or deconstructed. The state of the landscapes begins to throw up abstract forms derived from material application which in turn transform back into new representational forms. This cyclical process of degeneration, transformation and regeneration is one evident across nature, culture and, self-referentially, the creative practice of painting.
Katherine Midgleys drawings are governed by the effects of nature on built structures. Midgleys drawings crystallise the progressive breakdown of materials when left to nature’s devices. Subtlety and disaster mingle in the overlapping and disjointed environments that are created across the surface. A sense of mapping and documentation is evident within the intricate use of visual sources that Midgley so carefully selects for each piece. From decadent polished interiors of stately homes to the obscure concrete defence structures of pillboxes, Midgley finds that using a combination of opposing sources forms a stimulating dialogue that she continues to revisit and develop.
James Parkinson approaches painting as an open, contemplative language. Parkinson builds uniform structures and geometries formed from thin veils of colour. Often there is a moment of departure, where the painting may veer off, and what has been set up is altered or at times damaged. What results is something problematic, bringing into question issues of revision and repair. He says of his work that he 'attempts to find a visual language that addresses how our relationship with the observed changes over time.' His paintings reflect his ideas that nothing is the same twice; through active observation of object or source we will find different outcomes and meanings with each new engagement.
Seamus Green’s paintings address intention, deception and layering. Through the overlapping of fragmented visual information Green constructs an environment of intent and purpose; however his paintings ultimately crumble into abstract moments leaving the work in an unsettled state. His interests in the staggered unravelling of information found in crime dramas is reflected in his work as the paintings, over time, reveal hints of representational clues. Formed from opulent sources such as Islamic and Baroque architectural structures, Greens paintings drift from their origins to allude to more humble situations like railway bridges and cluttered spaces.
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