Sunday 14 April 2013

'Different Light'. An exhibition by Mark Chambers and Sam Fleming at Ballina Arts Centre, Ireland , July 5th to 27th 2013




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Sam Fleming and Mark Chambers both work from a studio in a former linen mill in East Belfast. They also lecture in Visual Art at Belfast Metropolitan College.

Whilst the artists’ practices are quite different, they share a common concern for the exploration of ‘Place’. The poetic nature of the environments which influence their personal histories.

‘Different Light’ refers to two personal visions of belonging and individual responses to the environment in which the artists exist. It also refers to the multiple narratives which are deliberately provided within both artists’ work. The exhibition is unified by a common concern for ‘place’ and a celebration of the inherent richness of the materials each artist works with.

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Mark Chambers’ recent work explores harmony and discord; the notion that everything does not adhere to its symbolism. Multiple meanings will exist, often resulting in a paradox. His work deals in opposites and contradictions: black and white, shadow and light, movement and stillness, clarity and obscurity, and the interplay between different dimensions. 

 

 

 

 

 

 

 

 
 
 
 

 

 




 
His work uses imagery form landscape and other symbolic metaphors, applying a variety of materials, processes and techniques through the disciplines of drawing, painting, installation and sculpture.

 

By removing objects from their physical context and isolating their elements, His work seeks to encourage the viewer to view things in a concentrated and intimate way.


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Sam Fleming  works with the medium of paint. He explores the poetic and heroic potential contained in the paraphernalia of everyday urban life. The apparently humble moments and incidents which become metaphors for a greater drama.  The universal human concerns which are played out in microcosm.

 
 

The work uses recurring images and symbols. The pieces are  spontaneously changed as new ‘stories’ emerge within the work. Indeed the act of painting itself becomes an important part of the drama. Images are held within a formal framework inspired by early renaissance religious works. This is reflected in the use of flattened perspective and suggestions of a theatrical interior and exterior spaces.