HARDLY THE WHOLE STORY | 2011-12

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Hardly the Whole Story exhibition statement (June 2014)

Painting from smaller collages made from found imagery, home interiors and urban surroundings torn from glossy magazine pages are interrupted by wildcats cut out from books on nature.  Although anecdotal – somewhat humorously and awkwardly taking things out of their usual context – there are no exact narratives.  Taking an interested in the formalities of collaging, making paintings which pay attention to both the different surfaces in the collage, to the imagined surfaces and textures of the actual subjects, as well as to the ways those surfaces can be approached in paint.

 

Talking in an interview about the paintings in the series Hardly the Whole Story (Oct 2013)

Hardly the Whole Story is a series of paintings which focus on taking things out of their context to create an ambiguous narrative.  Perhaps in being as curious as the cat in the picture we might form a selection of interpretations as to what the goings on be may.  Lions and tigers are introduced into our own human environments, prowling on street corners and lounging on living room sofas, places more suited to tabby cats, disrupting our sense for familiarity.  Encourage a urge for inquisitiveness at the same time as being a technically accurate rendering of something imagined.

Many of the big cats are settle in old armchairs or sofas which are
situated outside rather than in, incorporating a love I have for finding
single items of abandoned furniture. Fly-Tipping, the dumping of
belongings in public places, although a nuisance for councils for me
provides a ready made collage or  installation.  I see much of it a lot
locally, I once found an entire Caravan abandoned on the street where my
studio is.  Regarding the armchairs, I like that the inside is brought
outside, as though the furniture has been released into the wild.

 

Previous statement on the series Hardly the Whole Story  (2012)

With a fascination towards being curious, this work collages together unlikely subject material to create a unclear narrative.  Big cats are often, slightly
absurdly, introduced as a manifestation of this interest in curiosity.  The paintings are based on collages that I construct using found imagery, an
immediate way to be inventive with how content is put together.  Tending also to be anti-minimalistic, full of clutter, a stark contrast to
my neat and tidy upbringing, surrounded by sensible, neutral interiors.  The wildlife in my work has become a motif and a symbol
for all things wild and untidy, why not let’s have massive tiger
in the middle of this painting…

 

 

 

‘Abigail’s paintings are based on collages that she constructs using found imagery.  In painting these strange and sometimes unsettling scenarios with an
increasingly experimental approach to the manipulation of colour, space
and composition, Abigail strives to highlight the wondrous ability paint has to
describe, suggest and invent whilst establishing an ambiguous narrative
that she hopes will evoke curiosity in the viewer.’

 

 

 

View related projects:

Hardly the Whole Story (2014)

The Great Escape (2012)

A Reality of their Own (2011)

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