NORTHERN CHAPTER, 2016 - 2017
Private Viewing, Artists' Talks
Wednesday 09 November 2016
From 18.00 hrs
There is to be an exhibition of work by:
12 Newbridge Street
Each artist has a particular relationship with the use of colour - and this will be described when the artists talk at a private view about their work.
All the artists in the show are based in Newcastle and it is the first official event for the Northern Chapter of the Colour Grojup (Great Britain)..
Newbridge Street is an artist run co-operative for affordable studio space for creatives.
|08 - 10 November||11.00 - 16.00 hrs||Exhibition at Newbridge Gallery
open to public
|09 November||18.00 - 19.00 hrs||Private View of Exhibition|
|09 November||19.00 - 20.00 hrs||Artists Talk about their work|
Free, open to all
Theresa is a committee member of the Colour Group GB Northern Chapter and is based at Newbridge Studios where she follows her practice of painting in the extended field. An image of her painting is featured on the poster for this event. Working with her abiding rule of not repeating colour within the geometric patterns she plays with colours, text, shapes and repeated forms. The works shown are part of a project where she has created paintings in response to a vocal performance of Rag Ragashree, a Kahyal composition of contemporary Hindustani music. She will be having similar work shown concurrently at The Laing Gallery, Newcastle in an exhibition Khyal : Music and Imagination, from 5th to 11th November.
Helen is based at Newbridge studios and is looking at 2d & 3d optical illusions using colour combinations, light manipulation and geometric proportion to enquire about the complexity of vision and visual perception in 'off-world' conditions for a project called 'The Human Spaceship'. Over 9 years, in collaboration with scientists, she has created artworks and education projects about space exploration and the science of the cosmos. The work in this show is also informed by being an ESERO-UK Space Ambassador for ESA education. Currently, she's working with Northumbria University's Solar Physics Department examining the colours of the Sun through a project called Yellow Giant.
Susi is chairman of the Northern Chapter of the Colour Group GB and works as an artist/cushion designer based at Cobalt Studios, Newcastle. Susi plays with the idea of 'colour as a commodity' in a series of photographic works that comment on fashion and colour trends and the human desire for reinvention. Her 'Colour Block' series of photography derive from a painted wooden floor installation which she first showed at her MA degree show at Baltic 39 in 2013. Continuing with this theme Susi returned to the photographic studio to shoot her components in various arrangements - harking back to her years as a Fashion Editor for Conde Nast Publications in London. These new works sit somewhere between 2d and 3d creating an illusory effect of both depth and flatness.
Michael (Chips) Chippendale BA, studied Fine Art at Newcastle University under the tutorage of Richard Hamilton. After gaining his degree Chips took a forty year sabbatical to create various design enterprises including The Stencil Library; a stencil business founded with his wife Helen Morris and now in its 29th year. Chip's dot series of paintings blend the sophistication of digital technology with the craft traditions of mosaic. The background colour, which consists of 25% of the surface area, is as important as the dots. Almost four thousand different colours have been mixed by hand for each of the paintings, then each dot is stencilled individually onto the canvas which takes away the digital element of the imagery and turns it into something else.
Alex received a BA Hons and MFA from Newcastle University in 2005 and 2015 respectively. He works from a screen-printing studio at Cobalt Studios, Newcastle. He makes artworks about colour, light and space. A fascination with colour is central to his practice and he uses the unstable and relative nature of colour as a tool to explore fragile, insubstantial and ephemeral possibilities that are free of tactile solidity and meaning. Alex sees reflected colour as being as much part of the work as pigmented colour. Where the edges of two colours meet they reflect more than the sum of their parts in the space between the viewer and the painting.