Tony Charles, Alex Charrington, Jo Hamill,
Nick Kennedy, Annie O’Donnell
10th October - 3rd November 2015.

Stable brings together the artists of Platform A Gallery in a presentation that corresponds to the Localism exhibition opening the same day at MIMA. 

Tony Charles’ work is underpinned by industrial concepts, materials and processes and investigates the relationship between 2 and 3 dimensions within art historical contexts. Recent work comprises his ‘Unpainted’ series of works that involve the use of the industrial grinding process.

Alex Charrington uses a painterly repertoire alongside printmaking to explore the contrast between painterly marks and graphic motif. Current work has explored the designs of drain covers and their uncanny likeness to well-known compositions within the history of art. The intention is to suggest a fictional ethnography of religious decoration associated with exotic cultures

Jo Hamill explores the multifarious occurrences innate within language and in particular the written word. She sees the absurdity of language lying in its limitations or failings, or more accurately our failings. Her work explores how containment of the written word, its tying down to the page, its order, its structure and the conventions it adheres to, affords us the opportunity to grasp what is being said and consequently what is being unsaid and often poses the question: When words fail or cannot be found what remains?

Nick Kennedy's work follows a path of experimentation with a practice that spans drawing, sculpture, installation and performance. His 'experiments' often deliberately parody scientific process to reflect a fascination with the hidden nature of things, time and materials. He seeks order in a chaotic world, recasting chance and unpredictability as his tools.  In recent projects, Kennedy has distanced himself from the act of making through the introduction of delicate drawing devices and close collaboration with participants to realise works that explore the boundaries of drawing.

Annie O’Donnell uses everyday materials that refer to her own relationship to the plastics manufacturer close by the place where she grew up. Her past experience as a dancer and her research into her own ancestry informs the gestural sculpture she constructs.

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