Amélie Beaudroit In her paintings, Beaudroit expresses a working process and an exploration of that which cannot be fully identified – the indefinite. Somewhat resonant of Mark Rothko’s paintings, Beaudroit creates abstractions with large soft-edged areas of colour. However, these are not pure abstractions but are identified as landscapes and seascapes, where the hazy use of colour plays with the notion of blurriness and the indistinct. As the artist explores natural elements that surround us and define our edges, she is in effect representing something like a search for an identity that is in constant flux and has infinite ways to be expressed.
Hanna ten Doornkaat German artist Hanna ten Doornkaat lives and works in the UK. Her work explores the process and meaning of drawing. The repetition of marks and lines often within a grid structure are regularly recurring elements. This laborious weaving and layering of surfaces creates fragments of something that is no longer there and which moves between the visible and the invisible. The work is informed by an interest in the hierarchy of perception and how visual stimuli are processed by the brain to construct new realities.
Judy-Ann Moule Voice and visibility are key elements to Moule’s conceptual practice, which is fed by an interest in materials and their latent possibilities. For this exhibition Moule presents a range of work, including simple line drawings that have been created out of tufting, which deftly examine silence and voicelessness. Working from a series of naïve pen and ink sketches depicting comments like ‘don’t mumble girl’, ‘speak up’, ‘cat got your tongue’, Moule has re-worked these phrases as small contemporary textiles. Using black and white wool on hessian, these small textured works re-consider these time-worn torments whilst referencing women’s work.
Maria Kokkonen Kokkonen’s practice seeks to understand the function of memories in the construction of one’s personal identity. Her works occupy the space between abstraction and realism, seeing visual language as a method to reach the boundaries of substance, and to explore the concept of self. She works intuitively and flexibly with the materials used enabling the image to emerge from the process. Her use of raw canvas with malleable borders and stains of paint alongside precise drawings, reflect this battle of capturing the plastic nature of memory.
Pernille Fraser Focusing upon the mechanics of movement, implied stasis and the possibilities between them, Fraser explores the numerous forces regularly encountered by us that imply forms of movement, but often remain invisible and unseen, such as the tangible pressures we feel in our daily lives. Fraser’s current research, stemming from her interest in the slow movement and neuroplasticity, looks to investigate the brain's ability to reorganize itself by forming new neural connections throughout life. Her practice expresses this investigation in respect of the affects/effects of pressure upon us.
Robert Aldous Bob Aldous’ paintings are lyrical abstractions influenced by both Eastern brush painting and western abstraction. Often the work is inspired by poetry but through the process of painting the words are removed leaving calligraphic marks that capture gestural movement. The works often use the combination of opposites, light and dark, horizontal and vertical, black and white; all composed with an eye to balance and counterpoint. The silk surface allows for a wide range of mark making, delicate glazes of ink and water colour are juxtaposed with bold gestural impasto.
Rodney Dee Rodney Dee’s training as an Art Psychotherapist has formed a major influence on his art practice, which is informed by abstract themes drawn from psychodynamic theory. Both the Duct series and Wringer look to express something of the unstable, perilous nature of the therapeutic relationship; often both the client and the therapist are affected and changed in some way. This notion of reshaping, reframing, controlling, and limiting is explored in his sculptural work along with the imprint of anamorphic imagery, which can also be perceived.
Rachael Cochrane Rachael Cochrane’s sculptural practice is informed by an architectural narrative. The works she creates are abstractions of small details, or aspects of architecture, either that suggested by the buildings themselves or their infrastructures - working from both the physical and social aspects. Cochrane’s experience through place informs the sculptures’ scale and material through the manipulation of both these elements. The installations become architectural structures in their own right. In some cases the works are presented without their existing frameworks therefore informing and creating new narratives.