Stéphanie le Grelle
Lotte Van De Walle
."WORK PROGRAMME DELUXE", Community Arts Centre, Brighton
. "Speak, Clown! **** Part Four" FOLD gallery, London.
. "Discernible" Zeitgeist Arts Projects, Bond House, London.
. "Work Program IV Max Gimson & Sophie Dickson" , Community Art Centre, Brighton
. "'****' Part Two", Neue Froth Kunsthalle, Brighton
. "Playing in Pools", Organhaus, Chongqing
. "BA(Hons) Degree Show", Brighton University
. "Konst" Blank Gallery, Brighton
. "Call for Paintings", Grey Area Gallery, Brighton
. "Contra-Invention", Marburae Art Gallery, Macclesfield
. "Heptalogy", Brighton Media Centre, Brighton
. "Grammar, Nonsense and Imagination" 2nd year show, Grand Parade Gallery, Brighton University
. "Drinky Arty Clubby", Grey Area Gallery, Brighton
. "An Exchange", Blank Gallery, Brighton
. "Max Gimson Represented by Mungles Corpsus" Mingles Calypsus, Brighton
. "Occupant Number 8, Max Gimson" Grey Area Gallery, Brighton
. "Through Tomorrow's Eyes" BEEP, Wales' International Contemporary Painting Prize, Swansea (shortlisted for exhibition)
. Zeitgeist Arts Projects, "Zeitgeist Open Exhibition", Bond House, London (selected for "Discernible" show)
Anecdotes, story telling, obsessions over objects or situations and people, fantasising around events within which could be considered the "domestic". An accidental dump tackle on a child in a swimming pool, mistaking a cat's bed in a bin bag as a person, Ghostbusters 2 and feeling slighted by a pair of brown chinos bought for a pizza delivery job. These experiences inform drawings and paintings with some sense of structure both compositionally and thematically.
The use of paint for me is a way to make sense of and reach environments in a very literal way. If I am understanding a carpet I want to feel the carpet with qualities of paint and application, if I am understanding varnished wood I will use wood varnish to express it. This approach is an attempt to grasp what is essential about something, not necessarily how light falls upon it or how it sits in space or it's function, just what it is.
However, months of working in a food production factory, washing the hands and staring into salad etc. has brought about a certain dissatisfaction with the "everyday", it is sterile.
I am still making images in a diary keeping fashion but I don't believe it is important in the painting. I want the painting to fight against my image making, it is the thing bringing balls and energy in response to my constant over exaggeration of essentially dull events. I'm searching for moments of battle between the stories i'm trying to tell and the paint confusing them, until it produces something that destroys anything anecdotal and exists separately from it.