Over / Under / Cover / Repeat is a new body of work created for a showcase at the Bowery. It forms part of an ongoing studio investigation into the qualities of everyday barrier materials. From solid hoardings and chain-link wires to plastic weaves, these diverse material surfaces are so often part of everyday urban spaces, but are easily overlooked.

Beginning with representational reflections of repeated patterns and non-descript urban sites, the subjects are gradually distilled to reveal what I see as their abstracted, painterly qualities. Over / Under / Cover / Repeat reflects a desire to continually test out materials and to ‘think through’ ideas using painting processes. Of interest to me is the notion that these diverse materials can be brought together to share a common visual language.

My concerns as a painter do not specifically relate to abstracted aesthetics, or simply to re-presenting patterns, as an artist I always want to see what something looks like, and how it can be thought about, as a painting.

Biography After completing an MA (Hons) at the University of Glasgow in Art History, I studied for an MFA, specialising in Painting, at Gray’s School of Art in Aberdeen. In 2016, I completed a practice-based PhD at the Glasgow School of Art (GSA). Over recent years, I have exhibited across the UK. I am currently a Lecturer in Painting and Printmaking and within Fine Art Critical Studies at the GSA, and I am currently based in Glasgow, Scotland.

Instagram  - @lister_art


Colours Edge II

Colour is central to my practice and it is how colour operates at many different levels that are of interest to me. My paintings draw on references from the natural world, texts, poems, places and events. I work with a limited palette or in monochrome and build up layers of colour allowing ambiguities and subtle colour shifts to occur. As one of the most reductive forms of painting, with the abandonment of figure/ground relationships, the monochrome first appears to represent ‘nothing’. Yet it is the complexity of working with a single colour or a restricted pallet, which brings instead a unique focus on colour’s symbolic, optical and material qualities. These can appear most vibrant at a colour’s edge.

‘Colours Edge II’ brings together work that explores how colours and edges have a constant tension and offer shifting perceptions. The main collections in this exhibition include the ‘Signs of Spring’ series, which is a response to the colours, light and joy of Spring. ‘Colour Standards’ is a series of works that references The British Dictionary of Colour Standards, a publication that was first produced in 1934. It is a compilation of colour silk swatches adopted as the standard within the textile and other colour using industries. A second edition was made in 1951. Using this later version, ‘Colour Standards’ is a new body of paintings that respond to the rich and vibrant colours that form part of this dictionary.

Each series of paintings are made on board on a gesso prepared surface. Using oil prepared pigments, the works are layered with thin glazes of colour, creating a luminosity of surface. Biography I studied Fine Art at Winchester School of Art and an MA in Printmaking at Bradford School of Arts & Media. I am currently an associate lecturer at Bradford School of Art. Born in Gravesend, Kent and brought up in Dover, I now live and work in West Yorkshire.

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