What is a Painting?

The idea of a painting being anything other than an image on the wall had never really occurred to me until I looked into the work of Stewart Geddes, one of my  tutors.  He describes his paintings as objects.

http://micros.swindon-college.ac.uk/sofart_news/guest-lecture-artist-stewart-geddes

Coming across the exhibition Painting in Time, currently on in Leeds, added a further dimension to the question What is a Painting?  The artists in this exhibition aim to push the conventional boundary.  Yet more food for thought.

Sarah Kate Wilson has curated the Painting in Time exhibition at the Tetley in Leeds.  She has been shortlisted for the Jerwood Painting Painting Fellowships 2016 and nominated for the inaugural MKCF 2014 New City Prize for the Visual Arts’ in partnership with MK Gallery.

‘The artists participating in Painting in Time are simultaneously pushing the boundaries of painting at this particular moment in time, whilst the medium is in its most expansive state. These artists destabilize the idea of painting as a static object. They bring time into their paintings by sidestepping away from making ‘finished’ paintings. Rather, time is inscribed in the work from the beginning through a variety of strategies, which allow the works to evolve once they exit the studio. Presented within the context of The Tetley’s ethos of curatorial and artistic experimentation, these strategies are manifest in the employment of specialist technology,
ephemeral materials, timed performances and audience articipation.’

http://www.sarahkatewilson.com/News

http://thetetley.org/painting-in-time

Sarah Kate Wilson, Zumba, 2015. Photo: Jules Lister; Courtesy: the artist and The Tetley

Zumba – Sarah Kate Wilson

https://www.a-n.co.uk/news/a-qa-with-sarah-kate-wilson-artist-and-curator

Claire Ashley, Limes and Bricks Suck Pink Your Tasteless Hunk, 2012; Another Tasteless<br />
Hunk, 2013. Photo: Jules Lister; Courtesy: the artist and The Tetley

Clare Ashley – inflatable paintings at The Tetley, Leeds

https://www.a-n.co.uk/news/a-qa-with-sarah-kate-wilson-artist-and-curator

Happy Collaborationists

DATE: “Friday, October 12, 2012 :: 5-7PM” LOCATION: “Roaming” PERFORMANCE: “Simultaneous Narrative” “Simultaneous Narrative” is a one day performance art walk curated by the HAPPY COLLABORATIONISTS, with featured artists, CLAIRE ASHLEY, ERIK PETERSON, JESUS MEJIA & RUTH,SHANE WARD, EJ HILL and ANDREW MEYLERperforming concurrently throughout the Wicker Park / Bucktown neighborhood, emphasizing how multiple artists interact with and alter the same space.

http://outofsitechicago.org/page/3/

Jessica Warboys, Box Painting (3), 2013. Photo: Jules Lister; Courtesy: the artist and The TetleyJessica Warboys, Box Painting (3), 2013. Photo: Jules Lister; Courtesy: the artist and The Tetley

Jessica Warboys

Jessica Warboys (1977) was born in Wales and works between London and Paris. She received a Master of Fine Art from Slade School of Art in 2004 and a BA(Hons) from Falmouth College of Arts in 2001.

Recent solo exhibitions include A painting cycle at Nomas Foundation, Rome (2012), Victory Park Tree Painting at Cell Project Space, London (2011) and Land & Sea at Le Crédac, Ivry-sur-Seine, France (2011). Her work has been included in numerous group exhibitions including dOCUMENTA (13) in Kassel, Germany (2012), Camera Britannica at Centre Pompidou, Paris (2012) and Los Pasos Perditos at Galerie Andreas Huber, Vienna (2012).

http://mleuven.prezly.com/jessica-warboys-opens-first-belgian-solo-at-m-museum-leuven

<i>Sea Painting, Dunwich, 2013</i> installation view. Photograph by Stuart Whipps

Dunwich

http://www.spikeisland.org.uk/events/exhibitions/ab-ovo/

‘In contrast to the structured Ladder Ladder group, the large scale Sea Painting, Dunwich, 2013, part of an ongoing series, was made by throwing mineral pigments directly onto a canvas that was submerged in waves at the seashore and then dragged along the sand. The process is a physical one and is strongly related to performance, a discipline Warboys sees as central to her practice.

Time and landscape, literally embedded in the Sea Paintings, are invoked visually in her films. Ab Ovo (1) (2013) and Ab Ovo (2)(2013) are autonomous films with distinct and intermittent soundtracks, yet operate here as a diptych. Each presents ancient landscapes — standing stones or sandy beaches — as the backdrop for the animation of idiosyncratic yet familiar objects. The use of such emblematic landmasses, or the egg referred to by the Latin title, brings prehistory into dialogue with modernist abstraction.

Weaving has been used as a metaphor for Warboys’ practice: throughout her work, themes and motifs are threaded together, building a structure of visual echoes. This operates very much in the way that words might in a poem, intensifying images to create a rhythmic, temporal experience.’

Hayley Tomkins

English, born 1971.

 

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