Three artists, experienced practitioners, bring together artworks in absorbed conversation, with chosen materials beyond that for which they are popularly recognised for. Claire Bridge, a distinguished hyper-realistic painter in oil, has in recent years broadened her practice with varied media. Emmy Mavroidis known for figurative bronze sculpture, Jeremy Blincoe for photomedia.
Blincoe includes a suite of photographic prints, blurred with movement, utilising his subject of revisiting a peppercorn tree, moving the camera as with wind. Allowing the elements to intrude & influence the medium.
Subject matter is the material in Confluence. Silks dyed in water become depictions of water, from the sky, the mountain ranges to the rivers below. Scarred burnt trees leave mark-making charcoal drawings, scorched timber become relief sculptural wall works. Trees & water. Sources of life.
Interest in mergence is seen in Blincoe’s scorched wood pieces – rippling, undulating landscapes of black ridges, whirling waterspouts, charred skin of timber. Depicting water & land, with the medium itself devoid of its watery origins.
Mavroidis’ bronze floor piece, a mysterious creature. Body? Wave? The elasticity of the sculptural object defies its immovable metallurgy. She knows her medium so well she pushes it in exciting ways.
The confluence of two rivers: Bridge’s blue indigo-dyed silk hangs from ceiling suspension. The drape falls, moving from sky distant mountains, depicting a river flowing from its elevation to the gallery floor where it reaches toward the entrance. In an effort to meet its living water companion Mavroidis’ ‘When Two Worlds Collide’ follows similar form. One long roll of pristine paper elegantly unfurls from wall to floor in smooth cascading movement. On this lies a torrefied tree limb. Charcoal traces on paper acts as trace evidence of movement. A dry riverbed. A scorched earth. A dead tree. The junction of two rivers.
‘Rayson integrates daily immersion in her surrounds, and intuitive repetitive mark-making in her process-driven practice.’
‘They would have enjoyed their stay at The Windsor, creating a bit of frisson with their incongruous subversion.’
Spring 1883 VII: Neon Parc, Sarah Scout Presents, Caves.
‘…the art remains the focus, the gallerists personable, the conversation informed…’
Spring 1883 VII: Various Artists
‘…a potent ingredient in the art experience recipe: the place of presentation, the context of physical space…’