Oil based ink on heavy paper - *Interactivity phase approaches..
DUNGENESS | drift
A selection of photographs, paintings and prints by Andrew Sullivan, Paddy Hamilton and Marc Christmas interpreting the liminal, ever-evolving landscape of Dungeness in Kent.
2 – 20 May 2012 Space Gallery 7 The Old High Street Folkestone Kent CT20 1RJ
Opening Hours: Wednesday – Sunday 10.00am – 4.00pm Closed Mondays – Tuesdaysspaceseven.co.uk/ firstname.lastname@example.org
Compound work - From 'DUNGENESS FONT - RX12' series
Oil based ink on heavy paper/plywood - Variable Dimensions.
Space Gallery, Folkestone’s independent gallery, is delighted to host an exhibition of new works by three artists who share a common fascination with the liminal atmosphere and ever-evolving landscape of Dungeness beach.
These three men have been involved with the beach at Dungeness for many
years - ‘Drifting’, absorbing and recording golden moments.
The resulting photographs, paintings, prints and installations have been
developed through close personal encounters with the remarkable geography
of this giant cuspate foreland.
Their work has been made on the spot or developed over a period of years to
echo the beach’s relentless tradition of an overall slow melding of the macro
with the micro.
Together, their works reflect a depth of engagement and exploration in
translating complex issues of a (macro) permanent environment co-existing
with determined (micro) human activity and the weathered pathos of
“Dungeness is like no other place. When Andrew first brought in his
series of photos ‘Longshore Drift’, we knew it was something that would
work really well in Space Gallery. Now that the show has evolved and is to
feature three really talented artists all with a different view on the same
unique landscape, we can’t wait to see it all come together”. Space Gallery
Studied graphic design at Hastings, Bournemouth and Croydon Colleges
Art and Design. During a career that has spanned over 20 years he has
for such clients as Shell, Ferrari, Nissan, British Airways, BBC, ITV,
Hotel and London Fashion Week. Hes currently the Creative Director
Blacknight Design, a design agency based in the South East of England,
he formed in 2009. He has exhibited his paintings, photographs in various
galleries and venues in and around the South East of England and London.
The photographs featured in this exhibition are from a series called
Longshore Drift. The series observes the ever-evolving visual
the beach at Dungeness through the revealing typography, graphic marks
textures that adorn the sides of containers, huts, fishing boats and
discarded objects that over time have populated the beach. The images
a language of time through decay; a coded history from within the weathered
layers. The series also documents the survival of a fishing industry
worked this stretch of beach for generations.
Paddy Hamiltons approach to painting, drawing, printmaking and
commissioned work embraces an earthy conceptualism. The intention is
always to avoid the unnecessary and make work without complication
or the need for lengthy explanation.
That which surrounds us forms the basis for work. Landscape, the human
form, a shared experience, abstract ideas, colour and paint itself are
subjects for exploration.
Resulting paintings and prints are thematic without a conscious style
projects reach a conclusion - others are self-sustaining with endless
on a common theme.
Born 1964, Kitwe, Zambia. Degree education, Chelsea School of Art.
Lives & works on Dungeness beach.
Ashford, Kent, England. Studied photography at Bournemouth and Poole
and Design. Marc lives on the South Coast and currently lectures in
at Higher Education level. He continues to explore number themes in
shooting medium format digital as well as large format film, producing
output of personal and commissioned work, in order to satisfy his passion
for image making.
This body of work explores the function and the codes of the Dungeness
community. My intentions are sometimes concerned with chance encounters
and resulting connections within the landscape. And at other times I
reference to appropriated objects of labour and their function to create
new stories for these objects.
Some but not all the resulting work questions ideas about the limitations
of photography and specifically how the line between photography and
art forms, in particular sculpture, is being blurred in contemporary