Painting, Fo’Sho!


PV 21st October

Phoebe Ridgway | Rosie Vohra | Tom Palin | Richard Baker | James Quin 

Curated by Jack Fisher

The myth of the romanticised idea of painting against the online competitive nature for visibility of content online. Artists make content to be viewed, critiqued and discussed, by uploading and constantly updating; that artist is seen to be producer of articulated ideas realised as either a personal proof of practice or exchanged against the value of; the individual or collectives authenticity. The connected artist can not escape the notion of the branded self. How a group of images, ideas or people might create a fiction, an action or a new idea by coming together.., What is the role of the art image, and what's the point in keeping it safe? Please leave your suggestions in the box provided. The painter vs. The painting vs. The memory of the paintings vs. The audience vs. The does this even matter? What is the importance of why we create, why the romantic notion of paintings lineage has remained the representation of art making and for paints sake; the reason we frame stuff.  I'm not sure, is this a show for the painters, or the artists or people who want and have time to watch paintings dry or maybe just those who want to own paintings…or both or something.  If the painting is more important than the artist, does the action of -being even matter and why do we care/judge the contextual background of the artist? Is the action of becoming one collective more powerful than the individual and how does US becoming Smarter really work, if we are to work cooperatively by default? This is a show for everyone who ever said they’d never talk about painting again. If the artist was anonymous in a forest, would it make a noise? The image is to be seen as a whole, the paintings become a network of ideas through discourse and understood as parts of a whole, continually evolving and adapting to their environment. If they solve no purpose other than financial exchange of wealth, do they solve no purpose at all? How do you read cultural shifts over time; through images if only those that remain archived are accessible? If a droplet falls into the ocean, no matter how deep it goes, there always remains the potential for it to resurface and become apart of the breaking wave on the shore. Where has the painting gone? Is the act of destruction through self-promotion an action of creation and how does commodifying this validate it? This is an action performed by painters who have navigated the globe to bring you images you will find interesting. Did you come here to find answers or questions? The fact is, it's not about the work of the artist or the painter in fact. Just #neverforget At Least it was the act of a human. I apologise if you thought otherwise. And Please, mind the saliva. I'm not sure what we’re trying to achieve here. Does it matter that you don't know? Or more that you know you don't know? At Least you're aware. That thing you were talking about never really got me thinking much but I know why you mean like, ‘’If a painter paints a painting outta paint; what's the painter performing perhaps people wanna paint’’ - Anonymous (2016) Each artist is in control of their own destiny. ‘Coz (painterslivesmatter) 2. If the last person on earth produced a painting, Would it even matter? This is Painting, Fo Sho! This is a fragment of work from individual makers, brought together to highlight the importance of collecting, displaying, enjoying and refreshing content on a regular basis. Each artist has been making work regularly for a combined total of 325 years. Can the painter be present without the painting if they never even existed? What happens when the artist can teach their clone to paint?

The expressions on their faces told the story.

The paintings hung, drawn and quartered. A tired painter lay there waiting, tar’d and feathered.  There was nothing left but a small reassembled pile of dust, or something to that description. They had been hung out to dry only; they never returned. They h’D been worrying for days and yet no one decided they wanted to eat anymore. They’d eaten to their hearts content the night before, the paintings went flying. Tempers were high!  No one knew what was going on at times. The Dead Professional Artist was NOWhere to be seen.  Although they all knew in their eyes exactly what was going on, no one made their engagement public. They’d all got just a little bit fed of of being interested in the whole thing and realised they probably didn't wanna be ‘ere anyway. A figure enters the room and exclaims ‘You bastard! What have you done?’

Phoebe Ridgway was born in Dorset, 1994 and is currently a 3rd year painting student at Leeds College of Art. Focussing and working from a personal interpretation of landscape which deals with memory and echoes of past and present. Recent exhibitions include #Shift Happens - Studio 24 (2015), I’ll show you mine - (2015), XOXO - Live Art Bistro (2016).

This way! lets walk.
        (Oil on Board, 2016)

Tom Palin was born in Birkenhead. He studied in Liverpool and Manchester, and is currently in the process of completing a PhD in Painting at The Royal College of Art. He has exhibited widely and been the recipient of The Hunting Young Artist of the Year Award (2000), The Gilchrist Fisher Award (2004) and The British Institution Award, at The Royal Academy Summer Exhibition last year. Solo exhibitions include: Between then and Now (Dean Clough, 2005), A Room with a View 2 (View Two Gallery, Liverpool 2008) and In Two Minds (Ashton, 2010). Publications include: Tom Palin: Artist Statements 1993-2012 (Workshop Press, Leeds). He teaches Fine Art and Critical Studies at Leeds College of Art, and Drawing at Leeds Becket University.

Mountain I

(Oil on Oak, 2016)

Richard Baker studied Fine Art at Leeds Metropolitan University; he completed a BA (Hons) in Fine Art in 2003. His paintings have been exhibited at The Royal Academy of Arts, London, The Mall Galleries, London, The San Francisco Arts Institute, Leeds City Art Gallery, Block 336 London and Highlanes Gallery, Ireland.  In 2016 Richard’s work has been shortlisted for The Lynn Painter-Stainer’s Prize and The Marmite Prize for Painting as well as being selected for the ING Discerning Eye Exhibition 2016.


(15cm x 10cm, oil on panel, 2016)

Rosie Vohra studied BA (Hons) Fine Art at Leeds College of Art (2010-2013) before completing ‘The Drawing Year’ postgraduate programme at The Royal Drawing School (2013-2014) where she was awarded The Sir Denis Mahon Award 2015/16. Solo Exhibitions: 'To Prepare a Face', Royal Drawing School, London (2016); 'New Works by Rosie Vohra', Tall Boys, Leeds (2016). Selected group exhibitions: 'Bought Objects', Very Friendly, Voidoid Archive, Glasgow (2016); 'Drawings from the Royal Drawing School', Christies, New York (2016); 'The Jerwood Drawing Prize 2015', Jerwood Art Space & UK Tour, London (2015). Rosie is currently living and working in Leeds and is a member and co-founder of ‘Precious’ Art Collective.

The Pause
(oil, gloss and spray paint on paper, 2016)

James Quin is currently a doctoral candidate on the practice-based PhD course at the University of Newcastle upon Tyne. He has exhibited nationally and internationally, most recently in the exhibition Performing Likeness at Fort Worth Contemporary Arts, Texas. Quin has also shown in the Marmite Prize for painting and the Creekside open, curated by Phylida Barlow. Quin is currently associate lecturer at the University of Newcastle upon Tyne and painting lecturer on the degree course at St Helens.

Quins appropriates images from the cultural archive, examining the fluctuating remediation of painting, via photographic reproduction, and back again. Quin uses the resultant images to explore the ways in which serial imagery temporalises the space of their encounter.