Alice Browne and Selma Parlour at PaintUnion 24th June

PaintUnion is pleased to invite painters Alice Browne and Selma Parlour to discuss their practices at the Griffin Gallery on 24^th June, 6:30-8:30pm.  Whilst visually distinct, their work shares common ground in the intersection of an interest in abstraction, architectural space and painting’s history.  
To reserve a place rsvp info@griffingallery.co.uk 

Image: Alice Browne, Projection, 2013, oil and acrylic on canvas, 126cm x 110cm

Alice Browne states that starting a painting opens up manifold possibilities, fantasies of what could be. The defined space of the paper or canvas provides a fixed viewpoint from which the space can be flattened out ahead or tilted forward. Shapes obscure one another like interfering objects in front of a camera lens, or are slotted into place like stage sets. Sections of paint are given physical attributes like weight and bulk, hanging or jammed between thin transparent layers that slip around and beyond the field of view.  Recent solo shows include Project Space, Prosjektrom Normanns, Stavanger (2014);  In Place, Limoncello, London (2013); Sequence, annarumma, Naples (2013); Fall-Out, The China Shop, Oxford (2012); And Then, Supercollider, Blackpool (2012), and Certain Obstacles, Limoncello, (2012). Her work will feature in group show Informal Elements at Ovada Gallery, Oxford this month, which will include a panel discussion with speakers Hanneke Grootenboer, Paul Hobson and Bev Broadhead.  http://www.alicebrowne.com/index.html

Image: Selma Parlour, Inadmissible Logic, 2014, oil on linen 91cm x 81cm

In her paintings, Selma Parlour explores a meta-analysis of painting to ascertain the potential of in/extrinsic conventions previously abandoned by 20th Century discourse. For example, she uses bands of colour to investigate traits discarded by antecedent models of enquiry, such as figure/ground relationships, the frame, and trompe l'oeil. Celebrating both painting and the gallery, Parlour's paintings test the re-presentation of art and context through a codification of photography's installation shot of abstract painting. Her imagery is two-dimensional, diagrammatic, and arranged as minimal scenery flats, creating a theatrical stage space that curtails fictive distance as it represents it.  This month, Parlour is showing with Beers Contemporary, London at Volta 10, Basel.  Past exhibitions include: Selma Parlour, MOT International Projects, London (2012); Selma Parlour & Yelena Popova, Horton Gallery, New York (2012); The Creative Cities Collection, The Barbican, London (2012), and 270112 Abstractions, Laure Genillard Gallery, London (2012). http://www.selmaparlour.com/