“I would like the work to be non-work. This means that it would find its way beyond my preconceptions...It is the unknown quantity from which and where I want to go. As a thing, an object, it accedes to its non-logical self. It is something, it is nothing.”
― Eva Hesse
There’s a poetic contrariness that connects the artistic approaches of painter Anna Pye and ceramic artist Sarah Lynch Jones. In ‘Fluro’ it’s possible to imagine architectural space through the simple rendering of a set of marks, for example, or motifs manifested in object form.
Essentially, they both deal with the thingly – the material strategies that connect us with the spaces between intellectual and bodily response – and the different sensory ways we might experience place or ascribe meaning to ‘stuff’. The exhibition will feature new paintings and ceramic works, a purpose-made zine and a collaborative sound project (with Esther Dillner, accordion, and Lou), through which they plan to create an audio tapestry of everyday experiences.
Both artists are interested in the construction of public spaces, specifically green zones in London, where they often walk and talk. Certainly, there is evidence in their works of natural-world and man-made materiality – earthy pigments and oils, glazed surfaces and the suggestion of carved or cast details – and of having been exposed to the elements (of weather and external influences).
Lynch-Jones’ practice is process driven and moves between the making of ceramic objects, collaborative radio broadcasts and research exchange. Her objects are rooted in simple forms and motifs that sink, melt and soak. The texture of painting is important to Pye, specifically the creation of an inky fluidity to ground the recurring motifs she creates from the “leftover fragments of contemporary culture”.