Jude explores the concept of natural graffiti and uses markmaking as inspiration for her work with photography and textiles. She uses her immediate surroundings as a source of rich visual information.
The marks made by cracked and peeling paint and other man made shapes and materials are usually in a stark contrast to the natural growth and decay in forgotten places and abandoned industrial buildings.
“I use natural materials such as wool and silk to make large scale and installation pieces that respond to the environment they are placed in”
HARRY STARLING’S EXHIBITION
Opening 12 of March. 7 – 9 PM
Exhibition 13 March – 10 April
9 AM– 8 PM Monday – Thursday
9 AM– 6 PM Friday
Moseley Exchange is really proud of present the latest work of Birmingham photographer Harry Starling. Where he examines different aspects of Birmingham cityscape and presents some unexpected aspects of our familiar landmarks.
Harry style incorporates elements of documentary, deadpan and fine art photography and his preferred subjects are architecture, industry and urban landscapes
Much of work is inspired by the changing sense of place and space within architecture and the urban environment and the clues and questions that the traces of current and previous occupants raise.
Harry has spent the past three years investigating Birmingham’s post-industrial landscape and in this exhibition deals with the paradox of a regional economy attempting to transfer its dependency onto leisure instead of work.
Jenny Brandon Exhibition
Exhibition runs from Friday, 17th May – Wednesday 10th July
Opening times from 9.00 to 20.00 from Monday to Thursday & from 9.00 to 18.00 on Friday
Her work reflects her strong interest in the physicality and materiality of paint, colour and the process of painting. Using different techniques and media, she is particularly interested in the surface and how paint and her gestures combine to create this and form the image.
Her recent work explores the broad in gestural marks, which is unpredictable and it has accidental qualities. It also explores her response to it through controlled and precisely placed drawn marks. The relationship between incidental and purposeful gestures leads to a marked contrast between “the demands of the unpredictable and uncontrollable materiality of the paint” (Barrett) on the one hand and the precise, controlled placement of the mark on the other.