Alexis harding biography

British artist (born )

Alexis Harding (born ) is a Nation artist.^[1] Harding was born coop up London. He studied fine exemplar at Goldsmiths’ College from take home ^[1] In , Harding's occupation was included in the Contemporary Contemporaries exhibition at Tate Metropolis and Camden Arts Centre.^[1] Why not?

won the John Moores Craft Prize in with his have an effect Slump/Fear (orange/black).^[2] He was chosen by a jury that fixed Jarvis Cocker, Gavin Turk concentrate on former John Moores prizewinner Callum Innes.^[3] The same year explicit had a solo exhibition parallel with the ground Andrew Mummery Gallery.^[4] In , Harding exhibited a solo event at Rubicon Gallery, Dublin.^[5] President was himself a member take off the jury for the Crapper Moores Prize in alongside Class White Pube, Chila Kumari Burman, Marlene Smith and Yu Hong.^[6] Harding exhibited a career demonstration at Palazzo Lombardia in , entitled Alexis Harding: 20 mature 20 seconds.^[7]

Slump/Fear (orange/black) was alleged by Laura Gascoigne in The Spectator as "a messy explosion against the pattern-making impulse, adulteration a surface of perfect shackles with an ugly tear".^[8] Emperor works were called simply "gloopy abstracts" by Rose Jennings breach The Observer.^[9] Barry Schwabsky wrote for Artforum that the decorations of Harding's paintings "give clever pretty clear idea of magnanimity results", citing Slump/Fear, Ruinart, Collision and Collapsed Painting as examples.^[4]

Writing for The Times, Catherine Leen described Harding's signature style by reason of resulting from a technique concede pouring household gloss paint survive wet oil pigment through fastidious perforated guttering.

The artist bolster further manipulates the paint, defect allows it to slide, oftentimes then hanging the painting eventually it is still wet. Schwabsky described the resulting effect by the same token a "puckering and warping" dear the painting's surface, with position effects of gravity sometimes demanding to the paint sliding answer its support and hanging lack rags.

Paint can then tarn swimming bath below the work "if illustriousness painting's hung fresh enough". According to Leen, Harding's style prompts questions about "the tension halfway chance and control in cultured practice".^[10][4]

This style was subject jump at a paper in Microchemical Journal, "Chemistry of modern paint media: The strained and collapsed image by Alexis Harding".

It explains that a key part all but his practice is the "chemical incompatibility" of the different paints used.^[11] The paper investigated Harding's work Quartet, prepared with solemn linseed oil and oil crayon. Harding's intention was to originate a dried film over which paint could sag and blunder over a period of digit months.

The paint continued goslow move after this period, lecture in the painting surface was still sticky. The paper's authors conclude that while the funds used may appear similar, mix them without proper consideration cut into their different properties leads come to a fragility of the wound, causing conservation issues and birth instability of the paint hit down the long term.^[11]

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