Therefore there is an importance attached to the ambiguity that the work contains so that it can impact on people in different ways with the viewer encouraged to interpret the works through their own experiences, thoughts and memories.
David Crouch’s reduced forms where simple shapes, wavering blocks, gentle agitation and part-suggesting smears of colour punctuate an otherwise paired back canvas are inspired by moments of feeling and experience, of contact with place or people.
Catherine Headley’s works are inspired by regular visits to Penwith in Cornwall, a magical land encircled by seas where colours are intensified by the dazzling Atlantic light. The pallets of these works take their cue from this wild landscape; the gorse and the heather, sea and sky, the strident greens and yellows and orange-gold of lichens on granite and a multitude of greys. The overlaying imagery comes from the stones that help define this area, a menhir or quoit, stone circle, barrow or carn.
Kerri Pratt’s practice starts with a formal approach using drawing and photography to investigate form, structure, texture and space. The work is concerned with the subconscious connections and relationships we make with things and places, and how visual language has the ability to trigger and recall hidden memories and tap into our emotions. In particular the subject matter and painterly gestures look to draw attention to subtleties of the apparently insignificant, things that are taken for granted, the overlooked, the mundane and banal that surround us in our daily lives, memories and feelings trapped within the shapes and patterns in our urban landscape.