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Simon Le Ruez, Ausblick, 2015, Cromático paper, coloured cellophane and netting, transparent tape, thread, fabric, adhesive, pencil, gold and felt pen, unfired clay, oil, enamel and acrylic paint, 23x20x14cm
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Simon Le Ruez, Ausblick, 2015, Cromático paper, coloured cellophane and netting, transparent tape, thread, fabric, adhesive, pencil, gold and felt pen, unfired clay, oil, enamel and acrylic paint, 23x20x14cm
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Simon Le Ruez, Rear Window, 2015, Cromático and silver paper, coloured cellophane, transparent tape, micro beads, fabric, acrylic paint, pencil, black, gold and felt pen, black polished plexiglass, 17x16x16cm
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Simon Le Ruez, Rear Window, 2015, Cromático and silver paper, coloured cellophane, transparent tape, micro beads, fabric, acrylic paint, pencil, black, gold and felt pen, black polished plexiglass, 17x16x16cm
Exhibition
Simon Le Ruez: The other side of you and me
1 May 2015 – 20 Jun 2015
Regular hours
- Friday
- 12:00 – 17:00
- Saturday
- 12:00 – 17:00
- Wednesday
- 12:00 – 17:00
- Thursday
- 12:00 – 17:00
Cost of entry
Free
Address
- Orbis Community
- 65 High Street
- Gateshead
England - NE8 2AP
- United Kingdom
Travel Information
- Nearest bus station: Gateshead Interchange
- Nearest Metro station: Gateshead Metro
- Nearest Railway station: Newcastle Central
For his third solo exhibition at Vane Simon Le Ruez presents work made for the gallery. Le Ruez continues to explore the themes of materiality, territory, transparency and forms of opposition.
About
For Simon Le Ruez’s third solo exhibition at Vane the artist presents a new body of work made specifically for the gallery space. With an ever progressing, colour charged and playful oeuvre ‘The other side of you and me’ continues to explore themes Le Ruez has immersed himself in over recent years, that of materiality, territory, transparency and forms of opposition.
His new work, which incorporates and combines materials such as coloured plexiglass, translucent papers, copper and unfired clay, revel in their spirited aesthetic transgressions. While making remains at the core of things, deconstruction and a sense of the unmade now share an equal stage.
Drawings transcend themselves and become sculptures, but in a way whereby the transition may not be a permanent one and all may be given to change. Elsewhere, refined linear structures play host to loosely made plans and feisty propositions. What resides and is imbued in the work is a sense of the other, of turning things inside out and then perhaps, back again.
