Painting/Diagram, Diagram/Painting at Studio 1 Gallery, Wandsworth, London: Solo show of new work by Catherine Ferguson

Catherine Ferguson

Research output: Non-textual outputExhibitionResearch

Abstract

The decision to make a painting is already to work within a certain tradition. Material choices must be made but a painting begins with a motivation somewhere else in the imagination, within the context of an on-going practice but also within the context of a life lived.
How does admiration work itself into one’s own painting?
What does it mean to make painting in direct relation to the work of someone else?
Between 1609-10 Caravaggio painted a scene with four characters that belong to a Biblical narrative (Salome Receives the Head of John the Baptist) and the painting now hangs in the National Gallery.
At home I have painted numerous watercolours of this painting from a postcard. Perhaps, I have become familiar with the painting ‘by heart’ and now the painting lives within me. In the studio I have made new paintings which don’t share the same image. These paintings repeat and explore some of the rhythms and sensations I have discovered by making copies in one medium through yet another change of materials.
Original languageEnglish
Publication statusPublished - 2018
EventPainting/Diagram, Diagram/Painting - Studio 1 Gallery, London, United Kingdom
Duration: 14 Jul 201815 Jul 2018

Fingerprint

Diagrams
Solo
Postcards
Rhythm
John the Baptist
National Gallery
Admiration
Salome
Caravaggio
Watercolour
Repeats

Cite this

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title = "Painting/Diagram, Diagram/Painting at Studio 1 Gallery, Wandsworth, London: Solo show of new work by Catherine Ferguson",
abstract = "The decision to make a painting is already to work within a certain tradition. Material choices must be made but a painting begins with a motivation somewhere else in the imagination, within the context of an on-going practice but also within the context of a life lived.How does admiration work itself into one’s own painting?What does it mean to make painting in direct relation to the work of someone else?Between 1609-10 Caravaggio painted a scene with four characters that belong to a Biblical narrative (Salome Receives the Head of John the Baptist) and the painting now hangs in the National Gallery. At home I have painted numerous watercolours of this painting from a postcard. Perhaps, I have become familiar with the painting ‘by heart’ and now the painting lives within me. In the studio I have made new paintings which don’t share the same image. These paintings repeat and explore some of the rhythms and sensations I have discovered by making copies in one medium through yet another change of materials.",
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Painting/Diagram, Diagram/Painting at Studio 1 Gallery, Wandsworth, London : Solo show of new work by Catherine Ferguson. Ferguson, Catherine (Author/Creator). 2018. Event: Painting/Diagram, Diagram/Painting , Studio 1 Gallery, London, United Kingdom.

Research output: Non-textual outputExhibitionResearch

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AB - The decision to make a painting is already to work within a certain tradition. Material choices must be made but a painting begins with a motivation somewhere else in the imagination, within the context of an on-going practice but also within the context of a life lived.How does admiration work itself into one’s own painting?What does it mean to make painting in direct relation to the work of someone else?Between 1609-10 Caravaggio painted a scene with four characters that belong to a Biblical narrative (Salome Receives the Head of John the Baptist) and the painting now hangs in the National Gallery. At home I have painted numerous watercolours of this painting from a postcard. Perhaps, I have become familiar with the painting ‘by heart’ and now the painting lives within me. In the studio I have made new paintings which don’t share the same image. These paintings repeat and explore some of the rhythms and sensations I have discovered by making copies in one medium through yet another change of materials.

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