Starting with Into the Red six artists use the dynamic of this colour and its many signals. Their different approaches from sculptural forms to painting, the depiction of mountains and woodland clearings to fruit and human interactions explore the complexities of that colours role within re-presentations of the natural world.
In a dark forest clearing, Dan Howard-Birt’s painting locates the mantra ‘Suns Coming Up Again’, hovering between romantic hope and mundane banality, this utterance is given space for its relexive contemplation.
The figure in Stephen Chamber’s work is engrossed in a small concentrated action. This internalised, all consuming meditation is made manifest, as the air becomes a dense red colour field.
Ali Grant’s sculpture of fig fruits is derived from still life. The magnified forms sit as if attempting to defy their decaying state.
In Jacqueline Hallum’s installation of paintings a version of nature is constructed through the interaction of painting glazes as well as natural chemical salts, each behaving according to its own idiosyncratic properties. While each canvas might suggest a delicate flower head or a vast landscape, collectivly hung and leant against a painted wall their interactions become more complex.
Kate Scrivener uses painted texts to create the image of a super nova, these intensly worked areas use news reports of the 1969 moon landing and related scientific information. This image from deep space is contrasted with another depicting a meteor like object grounding us again on our planets surface.
In ‘Matterhorn vs Mt. Blanc’ Finlay Taylor brings together two mountains from different geographical proximities. The exact nature of the conflict remains ambiguous