Constructs of Colour

Opens 6th July

Opening event - all welcome 4pm - 6.30pm

Continues until 17th August, gallery open 11-5pm Friday - Sunday.


Constructs of Colour

Michele Bianco - Nick Grindrod - Susan Laughton - JFK Turner

We are excited to bring together four exceptional artists for ‘Constructs of Colour’, a perfect Summer show of vibrant and colourful works, with over 30 pieces of work available at the gallery and online during the exhibition - online catalogue available shortly.

Michele Bianco - Ceramicist

The starting point for my work is always walking and sketching. I’m inspired by the forms, patterns and textures in the world around me – the mesh of branches on wintry trees, the geometric patterns in eroded rock faces or the intricate structures of pods, leaves and petals. In the studio I work with a range of stoneware clays and enjoy the way the forms I build are affected by the differences in structure of these clays.  All my pieces are hand built using a range of techniques; pinching, coiling and slab building.  Once the initial form is created, it goes through a series of manipulations - smoothing, paddling, refining – until I'm happy with the shape.  The piece is then allowed to dry slowly and during this phase the surface is altered by hand carving into the clay. The form the carving takes is determined by the shape of the vessel.  As the piece gradually dries it can be refined by degrees. Once complete the form is allowed to fully dry over a period of several days.  Sometimes oxides are brushed on before biscuit firing to 900C. 

After the initial firing, I then move on to glazing the work.  The glazes I use are all made up by me from dry ingredients which allows me to make subtle alterations to the opacity or gloss of the final glaze. The pieces are fired to around 1200C. The glazes are chosen for their texture and visual interaction with the clay and are mainly decorative in nature. For me, the process of making is an absorbing and intuitive one.  I hope that the finished pieces also become objects of contemplation and enjoyment for others.

Nick Grindrod - Fine Artist

Boldly abstract in nature, Grindrod's paintings skilfully layer strict geometric forms with gestural painterly handling. Working in intense bursts of activity, initial sketches are adapted and reformed in an instinctive, immediate process. Much of the aesthetic decision making is done in the moment - intuitively working with the paintings in 'real time'. Consequentially, removal of paint and erasure of marks play just as important a role as the application of paint and this is abundantly clear when we look at the finished works. Bold, flat, graphic colour fields sit alongside abraded, distressed surfaces. Swift, gestural marks contrast sharp, measured lines. One might imagine such seemingly contradictory forms and surfaces would not play well together, but Grindrod's innate ability to balance a composition and a palette is such that the completed works are undoubtedly of a piece, humming and vibrating with an excited energy. The paintings are often overtly playful, but their immediate aesthetic appeal conceals a subtlety and rigorous commitment to a practice that is deeply important to the artist. As he says of his himself, "The decisions that are made in the moment can be both rewarding and disappointing but all lead to the truth in the end...I feel that this is the only way that I can truly create something unique". Nick Grindrod is a British artist based in Sheffield. He has shown widely in Britain and has work in numerous private collections. Nick is a member of Artcan and also curates exhibitions at the Circle Gallery. - Written by Tom Wilmott

Susan Laughton - Fine Artist

My paintings and drawings evolve from half-remembered glimpses seen from the corner of my eye, fleeting juxtapositions elusive to photography, the dislocated reverie of long car journeys, or from more studied compositions. The landscape is my starting point, not as a picturesque or static view, but as a space travelled through and experienced often on the edges of the urban and the rural. It is a source of man made and natural structures, surfaces and colour from which my reductive personal responses develop. Man made structures in particular impose their presence: telegraph poles, fences, power lines, isolated buildings - structures that create tension within space and mark the passage of time and distance. Process and materials are important to me as a way of allowing the paintings to emerge as objects in their own right.

Structured and methodical approaches combined with spontaneous and intuitive reactions allow me to plan and take risks: to combine control with ‘let‘s see what happens if...’

JFK Turner - Fine Artist

My work is concerned with the unnoticed ephemeral elements of everyday life; found objects, marks, stains and the natural effect of time. The objects I collect from the street form the basis of the work. The paintings are not abstract – they are based on something from the real world – for example a rubber band, a screwed up piece of paper, or a flap on a cardboard box. These are non-objects, just the remnants of life. An object taken out of its context and presented as a two dimensional form becomes ambiguous and works as a trigger to the imagination. The works are closer to objects than traditional paintings. If paint is used it is house hold paint that is poured, smeared and allowed to congeal and crack – like spilt paint on a pavement. In addition to paint I use found materials – wax, plaster, photographs, paper, discarded books and clothes. Working on wood allows me to attack the surface by scratching, sanding and stabbing. This adds to the works physical quality – like a collagraph printing plate or a religious icon. I take objects and elements from the real world, combine them together to create another object. The ordinary becomes unusual and other.