Saturday, 21 February 2015
Monday, 16 February 2015
Thursday, 9 February 2012
Seventy Feet at Free Range, Brick Lane 2011
Seventy Feet, 35 students from Bath School of Art & Design, exhibiting at the Truman Breweries, Brick Lane, London
Friday, 2 December 2011
Muse
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| Muse (Arbus/Bourgois), oil on canvas, 60 x 60 cm |
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| Will (Lucas/Sontag), oil on canvas, 60 x 60 cm |
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| Reason (Abramovich/Hepworth), oil on canvas, 60 x 60 cm |
Thursday, 1 December 2011
About the work
Since the
invention of photography, painting is less concerned with specific imagery and
more about how the artist remakes that imagery. Found images and film stills
provide material and my work explores the contrast between the painted surface
and the mechanical quality of the source image. The painting Muse (Arbus/Bourgeois) is part of a series of celebrated women artists satirically
referencing the tradition of ‘honorary’ portraits, alluding to the fact women
struggled, until the rise of feminist theory, to be accepted within the art
system. The disembodied nudes, Docile Bodies, affirm Sylvère
Lotringer’s observation that “Art has to look inward to justify itself to
counter its definition by extrinsic conditions of the market place”. The paintings were informed by
Michel Foucault’s theories of the objectification of the body which is so
prevalent in late capitalist society and evidence that “a docile body may be
subjected, used, transformed and improved” to which women are especially
vulnerable.
With digital
technology the recording of our lives is instantaneous and I am interested in
how that impacts on our sense of time, place and memory and want to demonstrate
that the medium of paint on canvas has the capacity to engage the viewer in an experience of seeing.
Tuesday, 11 October 2011
Country Calling, October 2011
Salisbury Life, Autumn 2011, issue 138, p 41
www.salisburylifemag.co.uk
Blackmore Vale, September 2011
Free Range, The Truman Breweries, Brick Lane, London EC1, July 2011
http://vimeo.com/27160910
http://seventyfeet.co.uk/miche-gray-newton/
'Miche Gray Newton uses photographs as the inspiration for her oil paintings but then allows the image to blur and drop away, like a fleeting memory.
Gray Newton is influenced by the photo-paintings of German artist Gerhard Richter and explores how appropriation, identity and memory combine in an image.
In Beachcombers the figures are shadowy and spectre like, braced against the cold, trudging, we feel, towards an imagined warmth. Her skill is in rendering the haziness of memory; her paintings are like snapshots of the mind.
Walkers to the Wedding is based on an old photograph of the artist with her mother, the figures half drawn in charcoal on a canvas that has been saturated in the vivid pink of her mother’s dress. This remembered pink, the fragmented image of mother and child cleverly brings the past into the present.'
Salisbury Life, Autumn 2011, issue 138, p 41
www.salisburylifemag.co.uk
Blackmore Vale, September 2011
Free Range, The Truman Breweries, Brick Lane, London EC1, July 2011
http://vimeo.com/27160910
http://seventyfeet.co.uk/miche-gray-newton/
Sunday, 12 June 2011
Paintings 2011
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| muse (Arbus/Bourgeois), 2011, oil on canvas, 60 x 60 cm |
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| reason (Abramovich/Hepworth), 2011, oil on canvas, 60 x 60 cm |
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| will (Lucas/Sontag), 2011, oil on canvas, 60 x 60 cm |
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| An Ancient Art, 2011, oil on canvas, 55 x 75 cm |
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| Beachcombers, 2011, oil on canvas, 60 x 60 cm |
Saturday, 11 June 2011
Docile Bodies
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| (wo)man, oil on canvas, 70 x 100 cm |
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| (..)man, oil on canvas, 70 x 100 cm |
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| (wo)man, detail |
Friday, 10 June 2011
Statement
My practice is concerned with the visceral quality of oils, accessing a vitality of mark-making on the picture plane by pushing the boundaries between accident and control. In recent work the paint is more vigorous, enabling a process-based dialogue.
The work investigates how we absorb the fiction of media images as ‘reality’ and intends to demonstrate that the primary subject of a work is not reality but merely its photographic representation. Painting, as a gesture or fragment, has the capacity to engage the viewer in an experience of seeing.
My work is informed by artists like Gerhard Richter, Luc Tuymans, Marlene Dumas and Chantal Joffe and I am interested not only in the conceptual concerns of these artists but also their mark-making strategies and methodology.
The work investigates how we absorb the fiction of media images as ‘reality’ and intends to demonstrate that the primary subject of a work is not reality but merely its photographic representation. Painting, as a gesture or fragment, has the capacity to engage the viewer in an experience of seeing.
My work is informed by artists like Gerhard Richter, Luc Tuymans, Marlene Dumas and Chantal Joffe and I am interested not only in the conceptual concerns of these artists but also their mark-making strategies and methodology.
Tuesday, 10 May 2011
Panama, 2010, oil on canvas, 60 x 60 cm
Ice Pond, 2010, oil on canvas, 60 x 60 cm
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Walkers to the Wedding, 2010,
oil on canvas, brushes, ash and candle holders, 90 x 120 cm
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Portrait of a Boy, 2010, oil on canvas, 31 x 51 cm
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Back, 2010, oil on canvas, 50 x 80 cm
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| Learning, 2010, oil on board, 55 x 70 cm |
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| Child in Motion, 2009, oil on canvas, 91 x 120 cm |
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| Swingeing Date, 2011, photo-painting with oils, 50 x 70 cm |
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| Performance, Marilyn, 2011, photo-painting with oils, 50 x 70 cm |
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| Echoes and Promises, 2011, oil on canvas, 100 x 140 cm |