72 New Kings Road
Fulham, London SW6 4LT

Artists Gwenyth Fugard

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Corner 4 2014

Oil on linen 175cm x 115cm sold

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My work pursues an investigation into how an illusionary space can be created through the use of few lines within a minimal composition. As if finding a gate to pass through or a window to gaze from the depths of a space confront the viewer from the flat surface of the canvas. I am influenced by the drama, majesty and geological structure of landscape in an abstracted and minimised form to explore these spatial illusions. The placement and juxtaposition of architectonic forms creates junctions to explore further the spatial relationships. The term landscape extends beyond the physical and I ponder the state of our emotional and political landscapes through the construction of these minimal compositions. Complexities attempt  forced entry as  perspective is adjusted from various view points.  All obvious references to nature and domesticity are excavated from the plane. Line is mapped out to construct the notion of space, perspective and depth. Interior and exterior become ambiguous as the lines and masses butt up against one another.

The physical space we encounter impacts upon the mental state we live in. The architectural forms become a metaphor for man’s presence in the space as he brings structure and deconstruction. Part air, partly grounded and part architecture, borders appear to be corroding while other zones remain solid. I follow a passage from the determined to the indeterminate. The lines on the periphery hover with ambiguity while clarity is restored at the centre as if an aperture was adjusted.

When embarking upon a new work, I impose a system of constraints to construct these illusions, by marking and masking out borders and boundaries formed around a square within a square or square within a rectangle. I utilise the square as I am curious about its neutrality  as it does not imply a subject of landscape or representation. Having recognised the system I then go about breaking the constraints. By pressing folds into the canvas or linen, interruptions are recognised. The folds establish lines that determine the progression of the work. Obstruction and intervention become integral to the shaping of the composition. Paint is applied by a variety of unplanned methods and the removal of paint leaves indeterminate edges, eroding surfaces and surprise. Unpainted areas on the substrate are valued equally to the painted. The method and process of painting remains the determining influence as to how the painting completes itself. The theories and references mentioned on landscape, architecture and the human condition hover while bringing the new space into view.

 

Gwenyth Fugard graduated from Central Saint Martins School of Fine Arts with a BA Hons Fine Art degree in 2013.

Monochromatic – Lisa Norris Galllery

Roaming Room Gallery – Group Show (London)

Solo Exhibition – Spatial Illusions, Lisa Norris Gallery

Wonder Women, Lisa Norris Gallery, 2014

Signature Art Prize (2014) (painting category)

Long listed Griffin Art Prize in 2013.

Her work was exhibited at Somerset House as part of the National Open Art Exhibition in September and October 2014

Verve Open 2014 Exhibition (London) and Rising Stars – 2013 (Coombe Gallery, Devon).

In 2013 she was also part of the Clyde & Co Project (London) and the Shoreditch Fashion Show.