09 APR — 18 JUN 2022
THE PICTURE ROOM, NEWLYN ART GALLERY
LEFT HAND SHUFFLE
The title of the exhibition acknowledges the element of chance and spontaneity that Ingram embraces whilst working on multiple artworks in his studio. The environment of the studio itself provides both the reference and the raw material for the creation of abstract compositions that rely on chance juxtapositions and physical experimentation with outcome.
During the creative process initial drawings and works on paper are re-evaluated, providing a new resource for collage and construction. Through cutting with scissors and painting on paper, forms evolve through the attachment of individual paper shapes, providing a layered surface to explore composition and form.
Bruce physically constructs his collaged work through the attachment and folding of papers, creating irregular and unexpected supports to further employ, paint and collage. In larger works these surfaces become sculptural, with papers layered to create rich surfaces which are ripped and constructed revealing layers between. Ingram chooses to attach individual pieces of papers with a hand-held stapler, the instantaneous nature of the staple allowing quick decision making and an immediate attachment. As surfaces are built up they are also dismantled and collapsed, rotated and joined together, with outcomes shifting between the wall and floor of the studio.
The works on display highlight Ingram’s interest in the iterative, yet playful nature of his process, almost game-like, with each piece referencing and informing the next. The process of renewal and reinvention are always apparent in these works, with the cross pollination of source material creating a multitude of references alongside a shifting purpose of narrative and place.
My sculpture 'Pierrot' is currently on display in the Royal Academy Summer show - the work is on display in the Lecture Room selected by artist Eva Rothschild and Yinka Shonibare ( Catalog number 1175) more information can be found on the Royal Academy website
Jonathan McCree, Bruce Ingram,
Jonathan Goddard and Joe Walkling
UP FOR GRABS
2—12 September 2021
Performance: 10 September 2021
A 2-week exhibition of painting, dance, sculpture and film, including a 3-day open workshop in the gallery space
APT Gallery, Harold Wharf, 6 Creekside, Deptford, London SE8 4SA
Journalist Catherine McShane visited my studio to record an episode of the podcast 'Consuming Culture' Listen to our conversation which is available on most platforms including Spotify, Google, acast etc.
Evening Standard Magazine 'The New Art Powerlist' Joanna Taylor 02.10.2020
Evening Standard Magazine 'The New Art Powerlist' Joanna Taylor 02.10.2020
A recent interview about the exhibition 'Chrysalis' at Wimbledon School of Art, the article is on the UAL website.
Click here to read the interview
Lund Gallery, UCS School, Frognal, Hampstead, London. NW3 6XH 3rd – 14th February 2020.
The exhibition ‘Upturning’ takes inspiration from the leisurely activity of rock-pooling. Flipping lose rocks in shallow pools is a process of discovery, each dormant rock having the potential to reveal a secluded creature, exposed for closer inspection and marvel. Parallels can be drawn between this physical exploration of a hidden world and Ingram’s art practice as he notices, collects and repurposes a diverse range of found materials that circulate the habitat of his own studio.
The studio environment is a fertile ground for Ingram where off-cuts of materials and studio sweepings are physically included in an artwork’s construction. The eclectic mix of references add a purpose of place, history and narrative. Disregarded off-cuts of wood, textiles and other cut-out shapes litter the studio floor, all drifting before being collected and incorporated into an artwork’s surface. The fluid nature of this studio process is central to the production of Ingram’s work, with the process of collage and appropriation informing new outcomes and dialogues.
The intentional decisions I make to start an artwork always end up posing further problems to explore; often the negative shape or the throwaway component shifts my focus to new and unexpected outcomes. The process of making can be brutal with works constantly being re-assessed and physically deconstructed, merging and concealing, shifting and re-modelling. This process of re-evaluation becomes the motivation in seeking the next step, the possibility within a work is the desire to keep exploring.
Central to this exhibition are a group of new floor standing sculptures constructed from dismantled wooden canvass stretchers and collaged canvas offcuts. The collection of sculptures ‘Upturns’ stand monumental as a family and constructed by simple attachment, through accumulation the works have evolved to a human scale. The sculptures were created simultaneously alongside the wall-based works on display with textural and coloured surfaces evolving as part of a broader studio process. Leftover paints were applied at the end of the working day with the colourful surfaces evoking a painter’s palette. These sculptures act as monuments, documenting reinvention and process. Materials are layered over time, both concealing and revealing moments of the works’ production and history.
The artworks in this exhibition are displayed in a similar manner to how they were made in Ingram’s studio. Incorporating the floor and walls of the gallery, work hangs at different heights and ‘samples’ of smaller work simply lean at the perimeters of the space, casually placed and ready to be shuffled around.
‘Humdrum’ brings together a group of diverse artists who address the mundane, overlooked and sometimes boring aspects of daily life.
The artists in this exhibition embrace the creative potential of their own day-to-day experiences in a diverse range of outcomes. Robin Tarbet transforms polystyrene waste packaging into cast concrete totemic sculptures whilst Ruth Chambers’ repetitive and intensive drawings on the inside of envelopes reveal an infinite possibility in the confines of interior space. Painter Adam Hennessey looks to the streets for subject matter, his paintings of everyday scenarios illustrating the strangeness of what we might commonly oversee or choose to acknowledge. Mimei Thompson observes the natural world that we often prefer to avoid as slimy snails trail across the canvas and upturned flies glisten in sticky oil paint. Hamish Pearch’s realistic sculptures of sprouting fungi appear to sprout from blackened burnt toast creating a juxtaposition between a failed daily routine and the continuing lifecycle of decay and re-invention.
Sebastian Sochan explores form, colour and textile techniques that question our relationship to the world of aesthetics. Working with sensual and evocative materials such as sugar, Sochan will make an ambitious new sculpture which connects both floors of the gallery, elevating familiar materials and experiences into monumental sculptural form. Painter Craig Wylie turns his attention to mundane objects that occupy the locality of his own studio. The broken and disregarded become props for Still Life studies observed in meticulous detail, elevating the humble to the sublime. Bruce Ingram also looks to his immediate surroundings in collaging gathered papers and offcuts from his classroom and studio to create a series of works on paper that are displayed in a manner that acknowledges production and the creative working of the studio. Jack Lavender’s assembled glass sculpture references his own experience and the journey home from school, trapped between sheets of glass, a humble range of throw away objects are ritually preserved and sealed in a window like vitrine. Rob Reed also navigates contemporary landscape in painting places that are generally overlooked, forgotten or await development. Reed’s small paintings record the unacknowledged or ignored spaces that we navigate in our daily lives with the overgrown, dead-end, broken and graffiti sprawled rendered in exquisite detail.
Ian Gouldstone’s new installation continues his on-going investigation into computer code and aesthetics of game imagery. Code and mathematics operate beside found objects, where endless computer simulations are left to run in ‘physical playgrounds’ the moving image running forever, constantly reforming and never repeating itself. James Irwin investigates the relationship between physical and digital reality using sculpture, sound and moving image. In a series of multi layered collaged film works, Irwin’s work seeks to offer alternative narratives which challenge and confront how we make meaning.
Humdrum invites the viewer to look at the everyday world with fresh eyes, prompting us to re-think our relationship to mass-produced objects, technology and familiar places. Gallery visitors will be encouraged to re-evaluate the familiar, everyday, mundane and often humdrum side of life.
Opening 10th June in Mayfair London.
Platform Foundation inaugural exhibition is presented in partnership with Soho House & Co. and is curated by Kate Bryan, arts broadcaster and Head of Collections Soho House.
“Generation Y” will open to the public on June 10th and will feature a selection of 30 bright young artists from the Soho House Art Collection. This selling exhibition will show a diverse range of mediums, styles and genres, representing a cross-section of the work produced by emerging artists today.
Adam Hennessey – Blemish and his curated exhibition – And Beyond – Roisin Fogarty – Grant Foster – Bruce Ingram – Matthew Krishanu
Thu 02 May 2019 - Sat 29 Jun 2019
New Art Projects, London.
Preview Friday 7th September 6 – 9pm
Exhibition continues Saturday 8th and Sunday 9th and also Friday 14th - Sunday 16th September.
Gallery open 11 - 6pm
For London-based artist Bruce Ingram, studio debris provides both the reference and the raw materials for the creation of abstract compositions that rely on chance juxtapositions and experimentation. Ingram’s works reference a modernist concern with shape and form, often blurring the boundaries between the figurative and the abstract.
In this exhibition, Ingram will present collaged works on paper alongside a new series of wall-based works that explore the boundary between painting and sculpture. This new series of ‘relief’ works are made from off-cuts of wood and found materials. Ingram is attracted to the randomness of finding readymade shapes; discarded and salvaged materials often providing a starting point to further explore surface and form. Through the process of play with these materials in the studio, pieces are assembled and morphed together. Ingram chooses to physically edit his works by collapsing and joining works together, producing outcomes that are a manifestation of starting points and compositions.
‘Broken Pictures’, acknowledges the fragmentation and deconstructive nature of Ingram’s studio process. Scattered across the gallery walls, the works on display will shift from the traditional confines of the picture plane into exaggerated shapes and compositions that play between image and form.