Louisa Chambers’ artist statement;
“I have been developing a series of works that incorporates on a simple folded form. Focusing on how a folded shape can be transfigured at speed from a temporary structure (three-dimensional into a flat two-dimensional space (painting). Each form can be squashed again, folded, opened, twisted and then recorded from observation.
Recent paintings are close up studies of reconfigured patterns from found fragments of printed fabric and paper. The colours are not true to the original sources and instead are intuitively selected. I am interested in the printed patterned tessellations that are on the surface of these forms and when manipulated create other spaces, angles and areas of illusion. These works are part of on-going research into depiction and visual perception on two and three-dimensional surfaces.”
I was attracted to her work and decided to include it on here as a reference because of the bold artistic language she has created using minimalist techniques and bright colours. The movement or direction of the lines suggest to me movement, they could also be representations of trees. The overlapping technique is used often and gives a sense of distortion and real abstraction. The ‘impossible’ and the ‘ridiculous’ are themes for her painting ‘Peak’, it seems to be a painting of an environmental monument enhanced by colour. But when we try and figure out the subjects sturdiness it seems impossible. She abstracts the physical law of the object, creating an image which is focussed on how a folded shape can be transfigured. Her objects are playful and resemble a sort of childlike abstraction, the block colours are enigmatic and vibrant. ‘Intersect’ shows something similar to that of a collage, the thick and thin lines equally spaced give a sense of distortion but the colours chosen make it more whimsical. ‘Inverse’ is more questionable the lines don’t always connect and it makes you ponder it and try and work it out, but I feel that the artist has chosen this route to create a sense of confusion. Using similar colours helps this. For the viewer, it is harder to dissect and digest but it does encourage third dimension within the flat space.
I am interested in her intuitively chosen colours, this corroborates with how I am selecting colour choices my own work. The colour is chosen through emotion and feelings associated with what your painting, for me I document the mixture of feelings which encompass excitement, happiness and often boredom. But also the times of day which shine through the passing environments in a car journey enhance the colours or make them duller. From this reference, I will certainly experiment more with colours and to use overlapping to create distortion connotating movement.