Art School 14 . 2013
+ Kerlin Gallery
During the Summer months of 2011 and 2012 Paul Winstanley photographed the empty fine art studio spaces of Art Schools throughout England, Scotland and Wales. The artist abided by certain governing rules; the camera was held at the same height for each shot, the studio was photographed as found and the lighting was natural. The result is a comprehensive photographic archive of previously overlooked and un-documented sites of creative potential. This archive has given rise to a truly remarkable body of paintings and a new photographic publication.
The paintings, drawn from his photographs, closely subscribe to this minimal experience of place that is both documentary and sublime. They describe place and yet become, themselves, objects of space defined as much by the transience of light on surfaces as place articulated. Painted on panel, they physically reflect the hard surfaces of walls and screens within the imagery and re live the memory of place as both illusion and object. The visual language approaches abstraction and yet these paintings never lose sight of their social and political content.
Kerlin Gallery
Art School 17 . 2013
Art School 16 . 2013
Art School 15 . 2013
+ Kerlin Gallery
During the Summer months of 2011 and 2012 Paul Winstanley photographed the empty fine art studio spaces of Art Schools throughout England, Scotland and Wales. The artist abided by certain governing rules; the camera was held at the same height for each shot, the studio was photographed as found and the lighting was natural. The result is a comprehensive photographic archive of previously overlooked and un-documented sites of creative potential. This archive has given rise to a truly remarkable body of paintings and a new photographic publication.
The paintings, drawn from his photographs, closely subscribe to this minimal experience of place that is both documentary and sublime. They describe place and yet become, themselves, objects of space defined as much by the transience of light on surfaces as place articulated. Painted on panel, they physically reflect the hard surfaces of walls and screens within the imagery and re live the memory of place as both illusion and object. The visual language approaches abstraction and yet these paintings never lose sight of their social and political content.
Kerlin Gallery
Art School 17 . 2013
Art School 16 . 2013
Art School 15 . 2013
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