SIGHT SPECIFIC

Curatorial Art Practice in London

Fireeye Meltdown

From 11 October to 16 December 2011

“Painting is at an interesting crossroads in relation to digital culture and the media – I try to reflect this through the painting’s chaotic visual spaces.” (Michael Stubbs).

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Working at the interface of abstraction and pop, Michael Stubbs combines pouring techniques with hard-edged lines and stencils to force a collision of styles and create a challenging new visual language.
The paintings are made on the floor. Stubbs pours household eggshell, gloss paints and tinted floor varnishes over ready-made adhesive stencils, peels these off when dry and repeats the process again and again to develop both an optical and material layering effect. The flatness of the repeated surfaces is the focus, with a heady mix of opaque and transparent planes giving contrastingly delicate and bold passages.
The layering is part of the fracturing process, the breaking up, or ‘exploding’ of a recognizable image, a response, says Stubbs, to broadcast and internet images of violence and confusion that seems to fill our world. Amorphous shapes intrude into Stubbs’ picture plane, fragmenting the surface: it is as though the physicality of the painting is coming up against the pixilation of the digital image. Yet there is an overriding seductiveness in these works: the perfection of the finish and the boldness of the palette alleviate the chaos of the visual explosion. This is picture making being interrogated in a serious, sensual and often irreverent way.

Michael Stubbs was born in West Sussex in 1961. He completed his Fine Art PhD at Goldsmiths in 2003, MA Fine Art Goldsmiths, 1990, and his BA (Hons) Fine Art, Bath Academy of Art, 1987.

His recent solo exhibitions include: Laurent Delaye Gallery, London, UK, 2010; ‘Virus Prints’, Laurent Delaye Gallery, London, UK; ‘Virus Drawings’, Rod Barton Gallery, London, UK, 2009; Baro Cruz Gallery, Sao Paulo, Brazil, 2007; Hollenbach Gallery, Stuttgart, Germany, 2006; Marella Contemporary Art, Milan, Italy, 2005.

For further information and images please contact Theresa Simon & Partners theresa@theresasimon.com / pauline@theresasimon.com +44 (0) 207 734 4800

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Gillian Wise Relief Construction 1966. From the exhibition 'British constructivism: The Catherine Petitgas Collection' until 11 June at Pallant House Gallery, Chichester.  www.laurentdelaye.com. #constructivism #pallanthousegallery #laurentdelaye #catherinepetitgas #britishart Norman Dilworth Structure Series 2A 1972. From the exhibition 'British constructivism: The Catherine Petitgas Collection' until 11 June. Works mirroring onto each others. Catherine Petitgas collection Fun and stimulating review on Jason Oddy and revolution from Sight Warde-Aldam''s bedroom and beyond

http://www.apollo-magazine.com/london-needs-a-spring-clean-or-perhaps-a-period-of-stagnation/?utm_content=buffer4899e&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer  #art #architecture  #jasonoddy #oscarniemeyer  #BrazilEmbassyUK  #coyalondon_  #sitespecific  #photography  #contemporaryart  #london  #algeria  #Mucem  #contemporaryphotography  #photographylondon  #currentshow  #laurentdelaye Jason Oddy on Oscar Niemeyer, Communism, Algeria and Revolution
On 14 April at the Embassy of Brazil, London and 25 April at Coya London
@BrazilEmbassyUK  @coyalondon_  @laurentdelaye. #art #architecture  #jasonoddy #oscarniemeyer  #BrazilEmbassyUK  #coyalondon_  #sitespecific  #photography  #contemporaryart  #london  #algeria  #Mucem  #contemporaryphotography  #photographylondon  #currentshow  #laurentdelaye Jason Oddy on Oscar Niemeyer, Communism, Algeria and Revolution

Coming on 14 April at the Embassy of Brazil, London and on 25 April at Coya London

@BrazilEmbassyUK  @coyalondon_  @laurentdelaye. #art #architecture  #jasonoddy #oscarniemeyer  #BrazilEmbassyUK  #coyalondon_  #sitespecific  #photography  #contemporaryart  #london  #algeria  #Mucem  #contemporaryphotography  #photographylondon  #currentshow  #laurentdelaye

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