James Ferris

 

 

There is something very satisfying about James Ferris' paintings.

A straightforward process (which makes obvious reference to process itself) records the artist's actions in the clearest way and results in pictures that are both visually opulent and scruffy in equal measure.

Andrew Graves

Wilfully challenging and exploratory; Andrew Graves’ paintings don’t take the easy option.

Marks quest and compete; for the most part avoiding motif, and come together to give intriguing paintings that (one would imagine) even the artist himself could not fully predict.

While the outcome may not be planned it is clear that Graves does not rely on chance. There is evidently method; steps are undoubtedly deliberate, it’s just that the path they are progressing along isn’t well-trodden or overly familiar.

In avoiding obvious motif it may appear that Graves is purposefully making his own job harder but the risk pays off; the most difficult things often reward most handsomely. Graves’ paintings are not benign, they are active, and interesting because of it.

(standard) INTERVIEW

(fundamental) PAINTING is expanding.....

(standard) INTERVIEW is a straightforward, one-size-fits-all interview which aims to provide an insight into the work of contemporary painters about whom there is little already written.

as always... suggestions greatly appreciated.

Ian Homerston

There is no luck involved here.

Ian Homerston does something that is much more difficult than it looks. He makes spare paintings that are at once serious, engaging and absurd.

Part of the reason these paintings are so good is the efficiency and style of their methods. They manage to do a lot with seemingly very little. Each painting has a hook, an intriguing point or issue about Painting itself; and these hooks are genuinely compelling. They draw you in and point you towards something both primary and deep-seated. They present the qualities of the medium without attempting to over-explain. Moreover, they do so with a purposeful lack of clichéd artiness or design, something that gives them an irreverence that is particularly pleasing.  

Hugh Delap

Formal elements interacting in an illusory world.

Hugh Delap’s canvasses often have the feeling of stage sets. They are places of possibility; freed from overt subject while at the same time retaining a breadth of opportunity.

Bold, vibrant forms occupy spaces of considerable depth, existing like players in a fun but indefinite game. The structures he builds up appear weighty without ever being entirely static. Walls and piles are common motifs, perhaps an allusion to materiality and mass, themes that would certainly be appropriate. His works are playful but they are not flippant and it is clear that his decision making is both considered and purposeful. When experienced in the flesh they have significant physical appeal. Their surfaces are a guide to his process; mapping each picture’s production and inviting the viewer to consider the course of his enquiry.  

Trevor Sutton

Tal R

Ramshackle. Urgent. Engaging. Really good.

Clem Crosby

Lyrical and anarchic; fluid and bold.

Simon Callery

The work Simon Callery makes is determinedly positive.

As the above video clip shows Callery is both direct and sincere; important qualities he shares with his work. Bold, substantial structures that imply industry in both senses of the word: Callery’s paintings are the result of a clear vision executed to perfection. They are physical without being muscular; imposing but not overbearing and they demonstrate a dogged engagement with painting that is rare in its thoroughness.

It's good stuff.

Aidan Doherty

Studied and undiluted.

This little maroon painting (above) made a great impression on me when I saw it at the Jerwood Space in 2009. It just looked so much better than anything else around it.

Aidan Doherty makes small, complex paintings that unfold as you look at them. They are rich, focused, and devoid of anything superfluous. They are paintings which concentrate on painting and its possibilities. Painting is defined by materials and process, these are its essence and so it follows that these are its strengths. Doherty’s works are unencumbered by distracting demands and this fact, combined with his skill and inventiveness, make them very complete and successful paintings.