My practice represents the relationship between nature, technology and even the sublime – as upon peering into another world with bold straight line structures which contrast curves and fluidity, the voids and chasms of space alluding to universes.
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As an artist, my main concern is challenging people to see the possibilities in beauty through pre-used building materials where others see functionality.
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The landscape contains many hidden ‘secrets’ ; ancient field systems identified through aerial photography, droves and tracks reinforced through thousands of years of constant use, or the more transient ‘memories’ of successive lines of a ploughed field.
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Gillian Ingham was educated at Ravensbourne College of Art (BA) and Chelsea School of Art (MA). She was elected to the London Group in 1981 and is currently Vice President. From 1990-2012 she was Head of Art at Kensington and Chelsea College.
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“Making makes, say, boxes and the boxes may be good to look at, but making always matters: so, if anything is to be made to last, it might as well be the making as the box”*
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As a Fine Art Photographer my work often relates to personal conflicts and human frailties.
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I have tried to undermine the authority of the gestural mark.
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Lightness fragility and ephemerality are recurring themes in my practice.
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I am an audiovisual artist and composer. My mainly abstract works are meditative environments as explorational spaces of aesthetic concepts. They examine microtonality, timbre, texture, colour and the self-similarity of image and sound, as well as the indeterminacy of change.
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For me, painting must operate independently of fashion if it is to make a meaningful statement.
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My art practice is a form of socially engaged portraiture and involves filming people in their place of work.
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Hannah Luxton makes paintings inspired by the natural sublime and the late 18th Century Romantic notion that a divine order resides within raw nature.
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In 1991 at the Triangle International Artists Workshop in New York State I had the opportunity to use Interference Colour, this was when, this new artists medium was not available in the UK.
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Words add little to paintings. They should present their own case.
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I work with photography, video and painting.
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Since 1994 I have been exploring a series of inter-related issues, which takes as a fundamental question: how can painting embrace decoration to disclose a narrative of loss and dislocation?
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My images begin in the dark and empty corners of abandoned places. Travel has become a big part of my imagery and I’ve seen a lot more of the world since taking photography.
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Systems interference artist. Appropriation and attempting to unearth the poetic in everyday, often dysfunctional, technologies, systems and bureaucracies. Strategies include misuse, misunderstanding, lampooning and tinkering.
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