Justin D L, work in progress, photograph Webb-Ellis, 2015

Justin D L, work in progress, photograph Webb-Ellis, 2015

Saturday 6th February – Sunday 20th March 2016

Introducing four new resident artists:
Justin DL – Ruth Miemczyk – Charlotte Salt – Janet White

Fridays – Sundays 11.00am – 4.00pm
Admission is free

Footnotes 2 presents the work of four artists who recently took up studios at Crescent Arts. The exhibition is an introduction to their work and, whilst there is no central theme, it explores associations between the works, hinting at common concerns. The work in the exhibition spans a range of media and approaches including painting, sculpture, ceramics, mixed-media and the (re)appropriation of collected or found objects, material and images.

The painter Ruth Miemczyk, whose solo exhibition you may have seen at Crescent Arts in autumn 2015, presents new paintings that she has been working on since arriving in her studio here. These new paintings continue her practice to explore an abstract visual language of colour, geometric shape, scale and gesture. She seeks to create a strong sense of space in each work arrived at through an intuitive, though highly rigorous and restrained, process of painting.

Justin DL draws upon photographic images and materials, often for their personal meaning or relevance, and which form the basis for drawings which he then processes digitally. The process offers abstracted, pixelated, visual fragments. Justin translates printed out versions of these processed images into paintings which re-introduces the ‘hand of the artist’, with a transposition in scale transforming ‘fragment’ into ‘field’. The intention of cutting up and reassembling these paintings extends the process of re-appropriation and places in question the notion of a ‘finished state’ of the work.

Charlotte Salt works with materials, images and objects which she finds and collects from a wide range of sources – the internet, junk shops, markets, scrap yards. Her interest in the objects or materials that she collects and assembles might focus on their history, values they might be perceived to embody, or perhaps the associations they can provoke. Intuitively, she sifts through and manipulates the materials to heighten their associative qualities and drawing upon tensions between quick gesture and labour intensive processes such as the use of ceramics or textiles. Her work draws on contexts and concerns relating to expression, feminism, labour, narrative and memory.

Janet White also incorporates found objects and materials in her work. She has, for some time, been exploring a particular agricultural site as the source of material which she collects as it is unearthed in the normal course of farming and managing this landscape. The field is also a site for her to plan and map through walking in the landscape, allowing for documentation of this activity which hints at cyclical and seasonal behavioural patterns. Time is a strong element in her work. The present in the form of her activity, interventions and documentation collides with the past (recent or otherwise) as embodied in fragments which she retrieves from the earth and which are abstracted by the process of wear and tear.

In Footnotes 2 we’ve brought elements of these artists’ work together to explore associations, create visual dialogue and to reveal some common or collective concerns. I hope this approach extends the possibilities and enjoyment of creating and experiencing their work, not only for the artists but also for visitors to this exhibition.

Stuart Cameron