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Taking centre stage in the gallery space is a printed Harlequin-like figure constructed with pentomino shapes. Making reference to Pablo Picasso’s Harlequin from 1915, the torso has been reduced to a flattened form emphasised by the repeated geometric pattern of misshapen diamonds and irregular polygons depicted on the costume. 
The rigidness of the Harlequin configuration is disrupted by idiosyncratic geometric motifs, suspended in an uninhabitable void. Carnivalesque structures cheekily are shifting and shaking in this invented space teasing with the viewer’s attention. 
In her most recent work, Chambers' has been playfully rearranging systems, structures and repeated patterns. Appropriated references derive from architectural sources, scientific and mathematical educational manuals to the everyday drawing upon daily routines.  Science fiction like objects and landscapes that often feature, present alternative visual and virtual worlds where structures govern our society and technology rules.

Published in Louisa Chambers

Rotation (rəʊˈteɪʃən) 

— n

The act of rotating; rotary motion

(Collins English Dictionary - Complete & Unabridged 10th Edition 2009)

New Court Gallery is delighted to host a solo exhibition of new artworks by Louisa Chambers. For this exhibition the artist has set up imaginary points of reference from inside of the picture frame right to the centre of the gallery space, linking painted surface with sculptural objects and its surroundings. Expanding the dictionary’s definition further, into astronomical terms, Rotation, can be understood as the Earth's path around the sun controlled by a gravitational pull. Similar to the arrangement within the gallery space, points can be navigated outside the white cube, where forms revolve in the everyday, suggesting that larger forces are at play.

The geometric patterns and structural forms that feature in the paintings originate from architectural sources and diagrams used in scientific and mathematical educational manuals. These shapes and silhouettes have been assembled in the artworks into anthropomorphic forms that teeter between abstraction and figuration. Flat three-dimensional shapes are dispersed around the gallery space acting as playful interactions with the paintings. Formal concerns that extend between the 3D object flipping to the materiality of the 2D painted surface refer to the artist’s on going experimentation in the notions of painting.







Published in Louisa Chambers

Seán Cummins is presenting new work at the Blyth Gallery, Imperial College, London.

A Control Room Romance: The Operators
Blyth Gallery, Imperial College, London
20th November 2019 – 05th January 2020

Seán exhibits paintings of Nuclear Power Control Room Operatives absorbed in their supervisory task. He uses mid-twentieth century photographic imagery of a Nuclear Power Control Room and an early computer laboratory as source material. The work explores the interaction between humans and sophisticated technology, revealing an absorption in the human-machine interface.

Cummins makes paintings as an archaeological process from historic photographs. Working between abstraction and figuration, he manipulates the images using painterly strategies that prioritise flatness, shape and colour. The aim is to give new life through a subversive representation. He sees this process as a “reverse modernism” that exposes the idealism of that time to our present gaze.


For further information please contact


Mindy Lee               This email address is being protected from spambots. You need JavaScript enabled to view it.         020 7594 9364

Seán Cummins      This email address is being protected from spambots. You need JavaScript enabled to view it.  



Published in Shout