Quirkism showcases the work of four artists working across two dimensions, interested in peculiarity. A quirk is a single odd detail that’s stumbled upon. Rather than halting process, this interruption is the starting point for making art. Quirks are also idiosyncrasies that make up character. This group exhibition suggests that the artist’s personality is synchronous with process. Despite difference in technique, all four artists begin with drawing; initial progress is hence the stage closest to human contact. In Quirkism, the original details that inspire the artworks are given over to process, which is drawn out or reduced as to test its temporality. However, the time spent on each piece is not entirely limited by technique but by the artists’ control, which is maintained or let go of during process. Quirkism, then, is revealed as a faux ideology – ironically playful and equally audacious.
Chris Campbell collects forms and textures, revising them through traditional modes of production and finishing by the translation of tone into numbers. Chris utilises a laser cutter for a refined aesthetic, this being allegorical of how ‘our vision is defined by technology’.
Alex Lewis makes pared-down paintings with spare compositions. Provincial subject matter is upended by a provisional, faux-naïve style. Beginning with laconic landscapes and things you can find in your back garden, Alex seeks to traverse the everyday through the process of paint.
Oliver Mulvihill’s paintings begin as representational ramifications, which he transfigures with disorderly layers of paint, often stopping and starting to reflect on himself. For this exhibition, he sustains psychological involvement through new narrative work.
Jolanta Rejs reconciles digital printing with previous experience of painting. Resisting the notion of prints as products, she intervenes on process with traditional technique. Like thoughts, her fragments although final, appear in progress.