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Edward Chell
About the artist...
Edward Chell explores the tensions between illusion and the painted
surface. These evocative and seductive paintings are preoccupied
with mutation and the simultaneous emergence and disappearance of
things.
On first looking, paintings such as the 'Bandwidth' series, with
their reduced palette and attention to surface, belong to the minimal
tradition. Yet through layers of reworked paint, traces of genetic
scripts, corrupted texts and archaic musical scores seem to emerge.
These fragile languages, while suggesting the possibility of certainty,
also create doubt.
Chell's work draws from a variety of traditions and sources. 'Chrysotope'
for example, with its laquered turquoise surface, contains apparent
descriptive elements which evoke Baroque fancies, Gothic monstrosities
and aspects of landscape which appear, only to dissolve into aquatic
transparency.
Biography
SELECTED SOLO EXHIBITIONS |
| 2001 |
Anthony Wilkinson Gallery, London.
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| 2000 |
Galerie Bugdahn und Kaimer, Dusseldorf |
| 1997 |
Galerie Bugdahn und Kaimer, Dusseldorf |
| 1996 |
Galerie Thieme + Pohl, Darmstadt (2 person) |
| 1995 |
Anthony Wilkinson Fine Art, London |
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| SELECTED GROUP EXHIBITIONS |
| 2004 |
will and compulsion, Broadbent, London |
| 2002/3 |
Yes. I am a Long Way From Home, Wolverhampton City
Art Gallery (Jan/Mar 03); The Nunnery Gallery, London (Mar/Apr
03); Northern Gallery for Contemporary Art (May/June 03); Herbert
Read Gallery, KIAD. Canterbury (Sept/Oct 03) |
| 2001 |
‘FOIL’. Herbert Read Gallery, KIAD,
Canterbury; Falmouth School of Art Gallery; Gallery Westland
Place, London |
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Paradise Valley. LUSAD. Loughborough |
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British Abstract Painting 2001. Flowers East Gallery,
London, |
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Record Collection, VTO Gallery, London and European
Tour. |
| 2000 |
The Wreck of Hope, The Nunnery Gallery, London |
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Chora - Hot Bath Gallery, Bath; Bracknell Gallery,
Bracknell; Abbott Hall Gallery, Kendal; Underwood Street Gallery |
| 1999 |
White Out, Gallery Fine, London. |
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Now Showing, Houldsworth Fine Art, London |
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Starting a Collection, Art First, London |
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Zwischenraum # 2 Galerie Bugdahn und Kaimer, Dusseldorf |
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Zwischenraum # I, Galerie Bugdahn und Kaimer, Dusseldorf |
| 1998 |
The Vauxhall Gardens, The Norwich Gallery, Norwich |
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Near, Museum of Modern Art, Sharjar, UAE |
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Tech, Galerie EOF, Paris |
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Foil, Stanley Picker Gallery, Kingston |
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Tech, Jason & Rhodes Gallery, London |
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Whitechapel Open, Whitechapel Art Gallery, London |
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Host, Tramway Gallery, Glasgow |
| 1997 |
John Moores 20, Walker Art Gallery, Liverpool |
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Shuttle - Anthony Wilkinson Fine Art, London |
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Whitechapel Open, Delfina Gallery, London |
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Black, Grey & White, Galerie Bugdahn und Kaimer,
Dusseldorf |
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East 96, Norwich Gallery, Norwich |
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Hunting Group Prize Winners Exhibition, Royal College
of Art, London |
| 1995 |
White Out, Curwen Gallery, London |
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7th Open Exhibition, Oriel Mostyn Gallery, Llandudno |
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John Moores 19, Walker Art Gallery, Liverpool |
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| EDUCATION |
| 1987-1989 |
MA Painting, Royal College of Art, London |
| 1977-1981 |
BA Fine Art, Newcastle upon Tyne University |
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| SELECTED COLLECTIONS |
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The Arts Council of Great Britain |
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Arthur Andersen & Co, London |
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Northern Arts Association |
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Northumberland County Libraries |
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The Grizedale Forrest Society |
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The Bede Gallery, Jarrow |
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British Telecom |
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American Express, London |
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The Royal College of Art |
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| SELECTED BIBLIOGRAPHY |
| 1997 |
The Art of Seduction. Essay and paper on Ed Chell,
Mark Wright and Mark Francis given at Angel Row Gallery, Nottingham |
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Light as Surface on Recent British Abstract Painting.
Simon Mroley. Contemporary Visual Arts Magazine. 6/97 |
| 1996 |
‘Feuer uber’m Bienenkorb’. Roland Held.
Frankfurter Allgemeine Zeitung. 10/96 |
| 1990 |
‘Parmenides Dilemma’ Solo Catalogue Text. Frank
Whitford. |
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