Studio Update | Angelika Studios
An exciting recent development for me is being invited to join Angelika Studios, founded by four Bucks Fine Art Graduates last year. I will be sharing an interesting space with fellow student Gill Gregory. The studios are located in an old re-purposed furniture factory in High Wycombe.
The timing feels right for us, both to be working in the space and having involvement with studio projects. Blurring the line between pre and post graduation. We have been painting out the room and feel primed for action.
Bucks Uni Degree show 2011 is down. So, now alerted to the fact that I have already had my part-timer’s head start into Level 6, I need to get to grips with the documentation side of studio practice. Not complicated, it just needs regular attention and application…I’ve bought the folders. I do want the contextualisation files to work for me, rather than for the module alone so I’m thinking of how to organize the material.
Painting and thinking.
www.angelikastudios.co.uk
Wolfson College Oxford
http://bit.ly/mF51pb
Exhibition Statement
[..} the incidental, the transitory, the peripheral – that aspect of our experience that is both there and not there, the object and not the object of our sensations, perceived but seldom attended to. These transparent phantoms disappeared into their envionments, and yet, upon occasion, almost at the corner of our eye, there they seemed to shiver – a gleam*
Painting and drawing form the main part of my practice through which I investigate the memory and experience of walking though urban space, sound, rhythm and time. The paintings record this enquiry and contain many concealed layers of interaction, decision making, surface tension and resolution.
Research of Brutalist architecture and early Italian Renaissance painting provide abstract entry spaces for me to begin this process. The paintings despite their geometric elements are not planned in advance but are made intuitively by responding, with colour and line. Surface incidents and accidents are retained as a witness to the progression, as is the history of colour slippage on the stretcher edge.
Marion Piper June 2011
*Lawrence Weschler, biography of Robert Irwin,
Seeing is Forgetting the Name of the Thing One Sees, University of California Press, 2008
