Chris Clinton Pauline Crogan Stephen Snoddy OPTICS | space: colour 2016 EDGE projects London
PV: Thursday 1 September 6 -9:00pm 2nd – 25th September Thursday – Saturday 12-5pm
The works selected for this exhibition are representative of the current practice of each of the three artists: Chris Clinton, Pauline Crogan and Stephen Snoddy. The use of geometric form and refined colour juxtaposition generate optical illusions of form (2D and 3D), space and movement.
In a broad context, the Crogan and Snoddy derive inspiration from urban landscapes as seen within an architectural construct. While Clinton incorporates various sculptural processes imbued with elements of personal nostalgia tapping into the aesthetics of class and time. Geometrical shapes/forms intersect and repeat to form interlocking patterns which extend to the furthest peripheral vision and which generate illusions of movement through nuances of shifts in association between colours, lines and forms.
Colour plays a key role in the construction of the works of all the artists. Stephen Snoddy states that grey tones can interject a somber note into areas of intense colour relationships; opposites produce optical ‘clashes’ between the edges of shapes; other interplays include: warm/cool; light and airy/heavy and dark; brilliant/subtle.
Pauline Crogan has drawn from not only architectural sources but also from researching the motifs and patterns of oriental cultures – China and UAR – in particular, as these have been her principal places of residence for the past 10 years. Her search for the interstitial space – the space between the eye of the beholder and the physical picture plane where the illusion of movement and instability occurs, and the image becomes alive – the space in-between, has preoccupied much of her practice.
Chris Clinton uses manipulation and reproduction of forms/objects, merging both the mass produced and hand crafted with an unforeseen different kind of unpredictability. Here in this show Clinton has modified everyday objects of a domestic and disparate nature such as the novelty dartboard.
The three artists work in not dissimilar ways of practice – the reinterpretation of previously constructed ideas produces subtleties of visual and psychological shifts that in themselves, open up whole new avenues for further exploration. In Stephen Snoddy’s words: “Often strips of colour serve as a counterpoint to a larger expanse of colour and through the reworking of the paintings glimpses of the decision making reveal themselves. “With each artists’ works the comment by John Berger in Ways of Seeing, strikes a chord: appreciating art isn’t simply glancing at many works before moving on – rather it is setting up a personal dialogue between the viewer and the work which is generated by focused perception – looking intensely to the exclusion of surrounding distraction. When viewed in such a manner, these paintings evoke a subjective as well as objective response that transgresses mere 2D painted or sculpted surfaces.