Flat Volume : APT Gallery

Shadow Sculpture 6, oil on wooden panel, 40cm x 40cm, 2020

Delighted to be invited to exhibit in Flat Volume, which will open on the 23rd of October and continue until the 9th of November at APT Gallery London. All welcome to the PV from 6-8 on the 23rd and the symposium on the 1st November, I looking forward to being on the panel.

Flat Volume has been curated by Sarah Longworth West, Senior Lecturer at Norwich University of the Arts, based on her research over the past 2 years on the concept within contemporary painting. The exhibition will be accompanied by a publication, with contributing essay by Nicholas Hatfull, and is supported by Norwich University of the Arts.

“A survey exhibition of 41 pieces of work from 38 artists. Aimed at contextualising ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings’*.

In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting.

This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes. 

These include: 
1. Placement of Parts: absolute idiosyncratic specificity of placement. 
2. Object(ness)/Form: desire for ‘solid’ forms – within the picture plane – alongside a pull to unusual structures. 
3. Relief – concave/convex: the melding boundaries of painting and sculpture. 
4. Illusion of form or relief.

These works bring to the forefront object/non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing – within the dynamic ‘lived’ and arresting moments of the painting – which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling.”
– Sarah Longworth West