James Pimperton's paintings evoke hyper-real non-spaces, they are dream-like depictions of composite landscapes; in the midst of grand deserts or fictitious valleys, three-point perspective is abandoned and the laws of physics no longer apply. The landscape is riddled with interruptions - jumps in painterly language that simultaneously deny the painting's synthesis as a constant view and explore a heterogeneous and unstable dimension. An uneasy hybrid is created that is somehow timeless, an a-historical panoptic view of painting.
Painting, like our perception of the world, is a construct. It is never stable and reflects the individual as much as what is perceived. We have to believe in our perception while concurrently questioning it; this dichotomy is alluded to in the paintings through their discreet structural disharmony, formal contrasts and dualities.
Pimperton's recent paintings have explored breaking the rules of stable representation and as he has done so he has identified three states of painting that he attempts to bring together in his work. The first of these is representation, the second is abstraction and the third is material. He has been using geological formations, weather events and machines as transitional flows or processes that, within the logic of the painting, could conceivably cause the jumps between the three states. These mechanisms within the painting are transformative in character and cause representational passages of the painting to be eroded, consumed, processed or deconstructed; their state changing to abstract forms or into the material paint from which they are formed, then taking those raw materials and transforming them back into new representational forms. This cyclical process of degeneration, transformation and regeneration is one evident across nature, culture and, self-referentially, the creative practice of painting.
Pimperton studied for BA (Hons) Fine Art at University College Falmouth. Since graduating in 2007, he has taken part in the artist led exhibition Sunrise with Sea Monsters in London's Docklands; he has exhibited at Campden Gallery, and also in Penzance as part of the Revolver exhibition series. He lives and works in Leicester. George and Jørgen are proud to present the first solo exhibition of his work in London.
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