Review: Imperfect Reverse Symposium

Frederic Anderson, a current MFA Fine Art student at Wimbledon College of Arts, UAL has published a review of the Imperfect Reverse symposium, held at Camberwell College of Arts on 3rd November 2016:

http://blogs.arts.ac.uk/pgcommunity/2016/11/04/imperfect-reverse-a-postgraduate-student-review/

Exhibition News: Sluice_ Exchange Rates

I will be showing at Art 3 Gallery (http://www.art-3gallery.com), New York as part of Sluice_ Exchange Rates with Saturation Point Projects, 20-23 October 2016.

You can read more information about Sluice_ Exchange Rates here: http://sluice.info/er2016

Exhibition News: Imperfect Revers

I am showing a new painting and accompanying drawing in Imperfect Reverse, opening 18 October 2016 at Camberwell Space, London SE5 8LU.

PV: 27 October 5-9pm

More info here: http://events.arts.ac.uk

Charley Peters, Line Drawing (2016), graphite on paper

I'm delighted to be one of the 200 artists from 16 countries contributing to Fiction (With Only Daylight Between Us) v.2, curated by Jeffrey Cortland Jones. The show is on at Corridor Projects, Ohio 2-23 Sept. The exhibition then tours to Boeckercontemporary, Heidelberg, in October. All the works from the show are catalogued at www.curatingcontemporary.com, including my Line Drawing (2016).

Exhibition News: Fiction (With Only Daylight Between Us)

I'll be showing a drawing in Fiction (With Only Daylight Between Us), curated by Jeffrey Cortland Jones at Corridor, Dayton, Ohio. It runs from 2nd - 23rd September, PV 2nd September 6-9pm.

Undead Painters Flash Salon II

I'll be taking part in the Undead Painters Flash Salon II on Friday 22nd July. The PV is 6-8.30pm and it's open for one night only...

Undead Painters aims to provoke discussion about prominent issues in contemporary painting by bringing together some of the most skilled and knowledgeable painters working in and round London today. Founded by James Petrucci and Alastair Gordon in 2013 the Undead Painters meet several times a year to conduct forums, exhibitions and educational events. For more info: http://undeadpainters.com

The Fold, Blyth Gallery / Installation

The Fold, which I have curated at Blyth Gallery London for Saturation Point Projects, runs until 8th July 2016.

Featuring work from Jane Bustin, Ben Cove, Deb Covell, Hanz Hancock, Tara Langford, Patrick Morrissey, Giulia Ricci and myself, The Fold explores the notion of folded space and the relationship between two and three dimensions in the illusionary surface of the art work.

Exhibition News: Exceptional at Scream London

Exhibition News: Stoke

Opening on 11th March is Stoke, a three-person show in which I will be exhibiting alongside Phil King (who is also curating the show) and Pascal-Michel Dubois.

From the exhibition's press release:
The problem of Art’s possession of a place’s protective spirit is an old quandary, maybe one that contemporary art has generally worked hard to avoid, it's somewhat laughable when someone talks of genius these days. Landscape painters, commissioned by landowners to show off their classically manicured properties, initially worked to enslave the particular genius loci of such feudal land banks… to make it conform to the geometries of the classical state that it was supposed to inspire. And when artists started to wander romantically about, they maintained a desire to hunt such genius down, chasing it into wilder and wilder places, aiming to render its now fugitive nature in watercolour washes, in sketches and oils. Some tried to become it. If each place did once have an enchanting protective spirit, some particular genie security guard, it is one that has long been muzzled and locked, hapless, into art. Now, after years of habitual property speculation, unable to protect anywhere anymore, these pale inhibited spirits have no spirit left, they can no longer even trigger defensive superstitions… except perhaps in fantasy computer games. Art bound genii are regularly regurgitated at auctions, stashed ignored in museums, they gather dust on walls and in attics… coordinated perspectives and prospects lock any unique imagines in, ship them away in golden frames, organise them in iPhoto or worse. Artists squint hard whenever they sense any sign of genii in the vicinity… they sharpen their pencils, focus their cameras, reduce any magic to a mere impression of themselves for god like collectors to collect, keeping warning barks kennelled far away from the lost places of the world. Without genius, everybody and everything becomes a Stoke... unprotected and everywhere … Little, Bradley or Gifford - Bristol and its nibbled green belt has more than its fair share of Stokes. Everything and everybody now has to know its place.

Stoke brings together aspects of the work of three, quite different, post-art artists in one place so as to look at and fuel this problem without being defined by it.

Pascal-Michel Dubois sees his work as an idle observation of life like a doodle… therefore, it is always in the making, constantly re-interpreting the fabric of reality. For his METEOR series he tries to see the seasonal transformation of trees from a different angle, putting us under the tree looking upwards… in an impossible space.

Charley Peters’ investigations are concerned with the spatial potential of the painted surface, explored through the construction of geometric configurations that map the pictorial relationship between two and three dimensions … her paintings use subtle variations in colour, tone and scale to construct illusionary light and structural depth. They often exhibit properties that present as disorientating or other-worldly, but are perhaps also familiar through our experiences of the 3D environments of computer games or digitally-generated terrains.

Gathering new and old paintings local Phil King unpacks and deals them in different sets. Not subject to a given identity they demand a different approach than one based on the identification of an a-priori common sense. For ‘Stoke’ however he has chosen to present an array of landscape paintings - inviting us to wander through manifold implications, past and future.

Charley Peters, Plexus_RGB_2.0 (2015), acrylic on plywood, 61cm x 91cm x 5cm

I am very pleased to have been shortlisted for the 2016 Dentons Art Prize. Dentons is collaborating with curator Niamh White to host a biannual prize for contemporary artists. Dentons' Partner, Lucille De Silva, commented, 'The Dentons Art Prize supports our firm's goal of having a positive social impact on the communities in which we work and live. By running this competition, the 14 talented artists are being supported as they embark on their careers and we are delighted to be a part of it'.

Shortlisted artists: Aimée Parrott, Alex Ball, Cara Nahaul, Charley Peters, Jörg Obergfell, Laurence Owen, Matthew Krishanu, Michael O'Reilly, Nengi Omuku, Robert Dowling, Sara Naim, Sif Nørskov, Tim A Shaw, Yukako Shibata

For more information:
http://www.niamh-white.com/dentons-art-prize

Room 58, The Averard Hotel

Charley Peters, CMYK_#05 (2016), acrylic on plywood, 40cm x 50cm x 5cm. Installed in Room 58, The Averard Hotel

Inspired by Michel Foucault's concept of heterotopia, The Averard Hotel, curated by Slate Projects, is a new project space located in a previously abandoned hotel in Lancaster Gate. A new painting, Interface_CMYK#05 (2016) is on view for the duration of the show.

Exhibition dates: 10 January – 31 January (inclusive), open Thursday - Sunday 12-6pm
The Averard Hotel, 10 Lancaster Gate, London W2 3LH

For more information:
http://www.slateprojects.comhttp://www.slateprojects.com

Reduction at Public House Projects

My solo show Reduction opened at Public House Projects SE15 last night, featuring new works made with intensely worked graphite on paper. The show continues until 23rd August.

For more information: www.publichouseprojects.org

Exhibition News: Bad Behaviour, Brixton East

The upstairs gallery at Brixton East

Installation started this weekend for the forthcoming group exhibition Bad Behaviour at the new south London venue Brixton East. A former Victorian furniture factory in the heart of Brixton, Brixton East forms an impressive and characterful backdrop to the show of work by artists from London, New York and Berlin.

Bad Behaviour opens at Brixton East on Friday 12 October 6.30-10.30pm.

TBC Artists' Collective: A Message To... Houston

Charley Peters, A Message To... Paul Neal 'Red' Adair (2011), Folded Paper on Wall

TBC's latest project, A Message To... Houston has now been completed and images of the installation of the works by myself, Laura Davidson and Beverley Bennett are now available at 12-pages.com.

My collaboration with Davidson was inspired by research into the firefighter 'Red' Adair. Davidson interpreted a set of instructions supplied by me relating to a series of drawings made from folded paper for the project (above), which are installed in my studio in London. On the 25th of August Davidson recreated the works in Houston, Texas, and scattered their subsequently burned remnants along the park in the middle of Heights Boulevard, which divides the lanes of traffic travelling across town (below). The work is the latest in TBC's ongoing exploration of drawing as performative, interventionist or documentary medium, moving the act of solitary mark making out of the studio and into a collaborative, interactive environment. For more information about the project click here.

Laura Davidson and Charley Peters, A Message to Paul Neal 'Red' Adair' (2011)

Movement on TBC Online Project Space

Charley Peters Autogenous (2011), unique inkjet drawings on paper

For its sixth issue, TBC's online publication 12-Pages asked artists to respond to the theme of Movement. Contributors from Switzerland, Belgium, Canada, Norway, the US and the UK combined with members of TBC Artists' Collective to comment on change, stasis, dynamism and process in contemporary art practice.

My contribution is a series of drawings produced on a photocopier and inkjet printer. In Autogenous, initial line drawings were subjected to continual processes of copying and overprinting. The results are organic, lines are transformed by the mechanical intervention of the hardware involved, and the process of drawing continued until the printer ink ran out.

Movement, edited by Paul Mendez and Charley Peters, can be seen in full here, and at 12-pages.com, which also details how artists can submit work to the forthcoming issue, Radicals.

Open publication - Free publishing - More art

Project News: Movement (Coming Soon)

May's issue of 12-Pages, Movement, is coming soon to TBC Artists' Collective online project space. Edited by Paul Mendez and Charley Peters, it will be available online in early May featuring new work from TBC artists and selected international contributors.

Studio Views: Signal to White Noise Ratio

Charley Peters, Signal to White Noise Ratio, (2011), Graphite on Paper

Three newly completed drawings from the ongoing series Signal to White Noise Ratio. These works are part of a body of small drawings that explore the tonal qualities of interrupted visual surfaces.

Studio Views: White Noise

Completed work in the studio

Today work was completed on a new drawing in the series Signal to White Noise Ratio. The piece is a intricate rendering of the visual interference generated by repeatedly photocopying the same image, in this case a small, hand-drawn graphite square. The work is executed in graphite on paper and measures 120 x 120 cm.

Top: Signal to White Noise Ratio (2011)  / Below: Signal to White Noise Ratio (Detail)

Season's Greetings

New Homepage

A new homepage with links to online galleries of my work, TBC's 12-Pages and Carbon Particles:
charleypeters.net