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Published in Derek Sprawson

Geoff Diego Litherland will be showing work alongside David M Price and Simon Bacon in PERPETUAL DAWN at Lacey Contemporary, London

Lacey Contemporary presents the work of contemporary painters Geoff Diego Litherland and David Price alongside bronze sculptor Simon Bacon in this first collaboration ‘Perpetual Dawn’ opening 29th June 2016.

Through this exhibition, the artists present wild and reimagined worlds formed by destructed landscapes that seem to echo an ancient time. Traces of human life are scattered throughout, with classical references that seem to allude to the loss of a great empire or an apocalyptic world.

29th June – 14th July 2016

Lacey Contemporary Gallery
8 Clarendon Cross
London W11 4AP

+44 (0) 207 313 9068
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Published in Shout

For the next exhibition at Mrs Rick’s Cupboard, Louisa Chambers envisages the space functioning as an optical device similar to a Stereoscope viewer.

A stereoscope is a device for viewing two separate images that have been taken from a slightly different viewpoint corresponding to the spacing of the eyes. When observing the images through the device, the two dimensional images merge together to become a single three dimensional scene. Chambers’ recent paintings respond to on-going research into depiction and visual perception on two dimensional surfaces, concentrating on the mediums of drawing, collage and painting.

Multiple dimensions and perspectives that feature in the paintings are explored through the materiality of paint and the repetition of geometric motifs which are floating ambiguously in space. These shapes and silhouettes have been assembled in the artworks into anthropomorphic forms that teeter between abstraction and figuration. Chambers’ paintings present alternative universes where impossible science fiction/architectural structures comment on conflicts between our inner dream worlds and the technological robotic control on our everyday lives.










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

Sean completed an MA in Fine Art at Goldsmiths College in 2000. His work explores ideas of spatial immersion, emptiness and losing oneself through temporal collapse. Recently he made paintings which attempt to re-visit the future optimism of the year 1963. Sometimes he gives himself and others instructions to make drawings, in an attempt to make so-called ‘expressive’ work outside of an individual subjectivity. Recent exhibitions have included The Potato Eaters Discover Cold Fusion, Bonington Gallery and Thoresby Thursday, One Thoresby Street in Nottingham; No Fun, Enclave, and Marbled Reams, Limoncello, in London; Pile, Surface Gallery, Nottingham/Chapter Arts Centre, Cardiff. Previous projects have been shown in USA, Austria, Hungary, Poland, South Korea and South Africa.  Sean received the Abbey Award at the British School in Rome. He is a resident studio artist at One Thoresby Street, Nottingham.







Published in Sean Cummins

'Disastrous Situations (wreckage)’, comprises a large-scale sculptural installation examining notions of ‘aftermath and wreckage’ in relation to a continued exploration of the seductive power of media representations of violence and destruction. 

The work was exhibited as part of the 9th Kaunas Art Biennial, 'UNITEXT', Kaunas, Lithuania. The exhibition runs from 13 September 2013 - 4 January 2014



The Biennial’s aims are to create conditions for immediate collisions of an artwork and a spectator, allowing the experience of art as a universal text, inviting artists to present works, experiences of which are based on a direct confrontation with an object / space / semantic field.

Please visit the website for more information, 

Published in Craig Fisher

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

Installation photographs taken of Kite II at the Bonington Gallery, Nottingham Trent University, Nottingham. The painting was created as an opportunity to test out a wall painting in a white cube space during The Summer Lodge at Nottingham Trent University in July 2014. The configuration was taken from a smaller painting Kite I and this work is featured in an earlier series entitled Nets.

Published in Louisa Chambers
Published in Derek Sprawson