Tracing Memory

27th May – 8th July 2017

Victoria Browne

Susan Corke

Theodore Ereira-Guyer

Katherine Jones

Curated by Katherine Jones and Martyn Lucas

“A book read by a thousand different people is a thousand different books.”  Andrei Tarkovsky

This specially selected exhibition presents a collection of works which explore the rich possibilities of print and differing conceptual approaches to image-making.

Curated by Katherine Jones in partnership with West Yorkshire Print Workshop, the show brings together four established artists, linked by their printmaking practice and their association with the Art Academy in South London.  Each artist has developed a reputation in their field as award-winning practitioners and teachers, exhibiting widely, nationally and internationally, with works in many private and public collections.

Each art work in the show exists as a result of processes – expertise and experimentation with techniques and materials; enquiry, research and intuition.  There is a thread running through all the work in which the print becomes a trace of investigation, an accumulation of thinking, feeling and mark-making.  Each art work contains the certainties of its own making and the contingencies of what it might say to a viewer.

Victoria Browne’s topiary-inspired motifs are ‘hand-carved structural formations, emulating the pruning and shaping of our own personal constructs’ drawing on a consideration of man’s desire to control nature.

Her latest work collectively entitled GOSH is a reaction to the comfort and control of suburban topiary and chintz in the home. On closer inspection, the graphic shapes reveal themselves to be a complex construction of coloured shapes, carefully placed and layered. The apparent control and design liberated by a process of re-registering and re-mixing colour in the studio. When viewed from afar, colours gently undulate but get up close and the ink pulsates.

Susan Corke’s images engage with technology and mechanical reproduction of a different kind – of photography and etching.  Among her interests are science and story-telling.  As such, her prints present a ‘real space’ captured, experienced in the real world.  But these images have a haunting quality, transient, like characters in a play and incongruous within their surroundings.  Corke uses photogravure, manipulating the plate during the etching process which results in an ethereal, ambiguous image.

Knowledge and experience inform Theodore Ereira-Guyer’s prints in a different way.  He draws on a wide range of sources to make work which poses questions about how we understand things we cannot experience, or share beliefs of what is possible to know or not know.  Etchings and woodcuts, but also photography and sculpture, make up his practice.  The prints might include portraits drawn from antiquity or resemble diagrammatic charts.  Their presentation may be conventional (in a frame, on a wall) or unusual (sculptural, pinned or propped), and always resist a straightforward interpretation.

Katherine Jones makes richly-textured, painterly prints combining collagraph, block-print and etching.  The relatively simple processes she employs (for example, cardboard stencils) belie the sophistication and emotional depth of the work.  Recurring motifs, such as playground structures, greenhouses, trees and bath tubs, evoke ideas of shelter, safety, containment and protection.  But they also carry with them feelings of vulnerability, anxiety, and undercurrents of disquiet.  They inhabit the pictorial space (often a landscape) akin to a human presence, with the construction of lines, marks, tones acting as a descriptor of character as well as place.  They become bodies imbued with traces of experience, transformed by a collaboration of imagination and memory.

You are welcome to join us with Katherine at the opening on Friday 26th May, 6-8pm.