Exhibition Dates: June 26 - July 13, 2024

Anthea Vayonitis

Connective Chromatic Energies and Sensations

Anthea Vayonitis, an emerging contemporary artist, moves through dance and meditation practices to create gesturally embodied and sensory paintings. 'Connective Chromatic Energies and Sensations’ is an immersive exploration of an intuitive process that seeks spiritual contexts and metaphysical energies found in nature. Meditation, music, dance, and nature cultivate channels and pathways for her spontaneous and intuitive art practice. Abstraction and biomorphic formations assist in developing a visual lexicon. Vayonitis' works are an extension of her embodied energy and physical movements. In working on large scale paintings, her limbs are at full extension which can be traced through the energy in her markings. Spatial depth is explored through colour to create sensation and movement. Rhythm and refraction are expressed through her free-flowing bodily movements, creating a play of synergistic directions of gestural brushstrokes.

Brigid Meredith & Johanna van der Linden

Material Ecologies

Material Ecologies explores material ecologies, dualities and tensions through expanded painting, sculpture and installation. A joint exhibition between two female identifying artists, Johanna van der Linden and Brigid Meredith, Material Ecologies explores their ongoing interest in the intersections between materiality, feminism and studio practice. Brigid’s encaustic and metal works explore materiality and the expanse of painting practices. Approaching her process in an intuitive manner, the material explorations facilitate a broader inquiry into notions of the post-human feminist sublime. Johanna presents recent works made as part of an ongoing research project into Catholic materiality and feminism. Alongside new etching work, forged steel chains, spikes and hooks further consider the material entanglements of heaviness, force and embodiment. Using materials such as steel, wax, etching and paint,Material Ecologies consider the ways in which materials can implicate the body through texture, colour, scale and relationality.

Jacob Marcus

Twenty Four

This group of paintings and drawings seem to be made in the last year (see title of show). Continuing with what looks to be the same subjects and developing or just changing the approach to touch. Portraits and a nude occupy a firmer position here then past exhibitions. In fact these heads dominate the landscapes they could have come out from although there are no figures in the landscapes.

Supports appear worked and reworked, layers upon layers until they are thick enough or the correct weight, or have lost weight in the case of the drawings, to be considered finished. Browns and ochres, reds, yellows, fairly standard pallet for an early 19th century english landscape painter inspired by the Dutch painters. Constable wouldn’t be a fan though, preferring a natural pallet. When gazing into the turgid earths and spots of charcoal one does realise a depth and charm, a presence perhaps, an entering occurs and reading begins to be possible. Surfaces are protruding off the support and are made of colours that are typically unattractive to us, these things are repulsive in there physicality and resistant in design. Thick paint can be a shallow effect, a crutch for some practitioners, but like the accumulated pigment the repulsion is surface level and there is a warmth and knowing.