Christie’s Education site
42 Portland place
23 May to 10 June 2019
Painter Lee Johnson makes works in a number of loose series, with motifs often crossing over from one series to another. Purposefully painting different series simultaneously, which encourages a certain unity, he finds his subject in his immediate surroundings, often photographing the banal and the quotidian that can be walked past daily without ever being seen. This urban vernacular is a rich source of imagery that is relatable yet distant. Objects are often presented front and centre, a deliberate theatre of intentional display. Stripped of function or context the subjects become anthropomorphised, especially when painted late in the evening – Johnson’s preferred studio time – when the imagination can take over, and an exaggeration of emotional states can get to the root of one’s desires.
Scarlett Bowman (b.1985, Windsor, UK) completed a BA in Classics at Newcastle University before undertaking an MA in Fine Art at Chelsea College of Art and Design. Scarlett is a London-based multi-disciplinary artist and curator, who uses the process of collage and assemblage as a metaphor for recording information.
RECENT EXHIBITIONS INCLUDE: Paper Cuts – Saatchi Gallery, The Lotus Eaters – Aindrea Contemporary, Love In A Cold Climate – The Dot Project, Stuff – Lubomirov/ Angus-Hughes, BFAMI 70Gala – Christies, Polymer – Fold gallery, Sunny Side Up! – Rook and Raven, Dysfunctional Alterations – Balzer Projects.
A continuation of Scarlett’s Fragment series, this new series of patchwork paintings are formed by embroidering together large swathes of recycled treated canvas, playfully distorting the components that make the very structure of the painting. Inspiration is taken from the Japanese aesthetic Wabi-sabi, and their approach to Boro textiles, whereby garments are mended and patched together with spare fabric scraps. The works are made on the floor of the studio, with assorted pieces of canvas roughly cut to shape before being selected at random for their various formal qualities, be it shape, palette or texture. This process is repeated until the work is complete.
Wendy Saunders constructs her painting supports specifically to act as carriers for a number of ideas relating to the reading of human countenance and emotion. They are an evolved, abstracted representation of the human form, combining surface and materials she evokes ideas of character or states of human expression which activate a psychological reading merely with the addition of coloured paint. She experiments with ways that the materials can be used to drive these anthropomorphic representations and how that represents either a state of mind, some form of behaviour or ideas about the human condition”.