Paint Edgy
Paint Edgy
Curated by Dr Judith Tucker and Linda Ingham
Artspace Gallery, The Ropewalk,
Maltkiln Road, Barton on Humber, North Lincolnshire DN18 5JT
10 September – 27 November 2022
Open | Tuesday to Saturday 10am – 5pm and Sunday 10am – 4pm
“I have a respect for invention, and I think that’s what attracts me to the margins in all things” writes the painter Graham Crowley.
The exhibition Paint Edgy: Contemporary British Painting & Guests demonstrates painting at its most inventive and innovative, and reflects a range of concerns with margins, edges and edginess. This wordplay encompasses the formal concerns of possibilities of painterly edges, and edges of canvas: painting as both object and image. Beyond this, however, it is also metaphorical: edgy as a play on the radical possibilities of contemporary painting, here, in the location of the Ropewalk Gallery, Barton on Humber, right on the very edge of England.
CBP artists: Susan Absolon, David Ainley, Iain Andrews, Amanda Ansell, Karl Bielik, Day Bowman, Julian Brown, Marco Cali, Ruth Calland, Simon Carter, Pen Dalton, Jeff Dellow, Lisa Denyer, Sam Douglas, Natalie Dowse, Geraint Evans, Susan Gunn, Susie Hamilton, Alex Hanna, Marguerite Horner, Barbara Howey, Phil Illingworth, Linda Ingham, Rachel Lancaster, Bryan Lavelle, Andrew Litten, Paula MacArthur, David Manley, Enzo Marra, Paul Newman, Joe Packer, Stephen Palmer, Mandy Payne, Barbara Peirson, Ruth Philo, Alison Pilkington, Narbi Price, Freya Purdue, Katherine Russell, David Sullivan, Harvey Taylor, Molly Thomson, Judith Tucker, Joanna Whittle and Sean Williams.
Guest artists: Graham Crowley, Deborah Grice, Richard Hatfield, Tim Needham, April Virgoe and Zoe Steele.
Download the Paint Edgy catalogue PDF
Ground Undone : Edge IV 2022
Natural earth and mineral pigment, wax and organic gesso with contrast edges on fine linen and a bespoke board support | 20 x 17.5 x 4.5 cm
My painting embodies a personal dialogue between a process and the finished work. Historically Gesso is a ground to paint on, I subvert the accepted tradition, the ground becomes the painting, in essence the object and the surface. Layers are built up over time, each bonding with the last to create a beautifully smooth gesso surface. I provoke the breaks and fissures in the surface, undoing and redoing, unmaking and remaking.
The work has a contrast white edge detail and a unique broken surface that’s wraps around the painting support. The edges enhance the division between the page and the margin and invite the viewer to look over and around the surface. In the Jacques Derrida sense, what is said quietly, or in the margin is equally if not just as interesting. Once restored, the objet petit that is embalmed and polished with a handmade natural beeswax.