Coming Up Fast…



is the first of two abstract painting shows that are a part of my year of curation for Harrington Mill Studios.  I am very excited at the opportunity to put some of the very best artists working in non-figurative painting on display in our modest exhibition space.  Not least from the purely selfish point of view that I will be able to study them up close for several weeks!  One of the many joys of being able to mount these shows is to bring together work by artists I have met and in some cases know well with those I have admired but never yet had the pleasure of meeting.  It also gives me an opportunity to place a single work of mine from a particular point in my life as an artist in the company of artists that, in all honesty, I’d never have had the opportunity to do otherwise.

Alongside the show itself I am creating a small display made up of a few single works as a kind of ‘control group’ borrowing a bit of scientific jargon*.  In my control groups I am putting myself in some very elevated company indeed…but then again it’s my show so it’s only me to blame if I make a fool of myself.

I’m gradually gathering together information on the first show – entitled ‘The Discipline Of Painting’ here.  And in a week or two I’ll be fleshing out detail for ‘Painting Too’ the second of the shows on the 2013 Harrington Mill programme blog.

* A control group in a scientific experiment is a group separated from the rest of the experiment where the independent variable being tested cannot influence the results. This isolates the independent variable’s effects on the experiment and can help rule out alternate explanations of the experimental results.

Plane Space


recent post by Andy Parkinson mentioned Natalie Dower‘s work both in connection with her last solo show and participation in the group show at the Lion & Lamb in London.  At the same I’d just taken receipt of this invite and mistakenly conjoined the work of Katrina Blannin with that of Natalie…

I don’t mind at all as they both seem to be mining a rich and very elegant seam of hard edged abstraction…of a kind that I explored as an student in the early seventies and Andy started in the early eighties (?) and numerous others both before and after that time.  It’s good to know that this broad territory of art making is alive and well and blooming again in the second decade of this century having come of age in the last.  I have the curatorial helm at our studios gallery space in the year ahead and am planning a modest celebration of this aspect of art practice…of which more in the months to come.

In the meantime a visit to this show that also features excellent paintings by my good friend Dan Roach will be worth a visit!