In these paintings you will find the familiarity of the city
splintered, refracted and splintered again.
A host of new paintings by Rob Lovell, Alison Chaplin and Adrian Eckersley build on the success of their shared West-End exhibition 'the unmapped edge' in 2010.
Alison Chaplin trained at Walthamstow Art College and has been full-time painter for the past 10 years.
Recent exhibitions include.... 27 Cork Street, W1; 54 The Gallery, Shepherds Market, Lauderdale House, Highgate; Eastern Open, Kings Lynn. Her paintings are in a number of private collections.
The paintings that Alison is exhibiting at this time are images of people waiting. At bus stops, railway stations, for friends in Galleries, at airports and in parks. People at rest while the rest of the world moves around them.
Adrian Eckersley is interested in the magic of representation, the extra something which is suggested beyond the facts of paint and marks on paper and canvas. He studied art at school, but followed an ongoing career in teaching, mostly English literature, in further and higher education. He has also written plays, stories and many articles. He came back to painting about a decade ago, becoming interested first in the landscapes of city, suburb and the lost places in between, spaces which he maintains we do not see clearly because they are too familiar. His aim as a painter is to return the sense of strangeness to those things which are lost to us through too much familiarity.
Since returning to painting he has had three solo shows, and participated in many more. He is particularly interested in promoting the art of painting in outer London and south west Essex, where he lives and works. He does not own a cat.
Rob Lovell resumed his painting career after spells as an academic and teacher in Art History. This current series of works arises from a rather belated interest in the phenomenon/activity of psychogeography. This is coupled with a long standing interest in the English landscape tradition in its modernist phase, most particularly the work of Peter Lanyon. These paintings and drawings suggest that the local and specific intensity of Lanyon's Cornish landscapes is now more dispersed, weaker and at the same time more complex involving not only direct and physical experience of a place but also and overlaid on this the vicarious knowledge of other times and places. The titles, like moments of slow recognition, emerge during the making of the works.