'Punctum caecuml' 2006
'Punctum versus?' 2006
Artists
Arthur Giardelli
Brendan Burns
Carol Hiles
Christine Kinsey
Chris Shurrock
Clive Hicks-Jenkins
Dennis Gardner
Dilys Jackson
Emrys Williams
Glyn Jones
Harvey Hood
John Selway
Martyn Jones
Peter Seabourne
Peter Spriggs
Robert Harding
Robert Alwyn Hughes
Sue Hunt
Sue Williams
Tom Piper
Antonia Spowers
Richard Renshaw
Ken Elias
"It is a privilege to be involved in art through both practising and lecturing, with the opportunity of re-looking at 'differing perspectives', and sequences of time; sensing in these the seeds of some continuity, but at each stage seldom fully recognising their implications.
In personal research, from the more 'formal constructions, examining principles of perception to the more 'ruminative' images
, involving re-combinations of elements and memories; there is a gradual focussing on the applicability of iteration, enabling a re-questioning of the processes and factors employed, often broaching the unfamiliar amid a juddering uncertainty, placing strictures on possibilities, and on what may be shown.
The escape from intuiting, to realising some type of 'form' involves working precariously, with little reliance on the 'resultant structure', and more frequently with 'less tangible components'. These appear as insubstantial husks hovering in thought and assembling into heaps of lurking fragments. In turn these affect 'the product/time' equation which can stumble into new-found chambers of initially unfamiliar content and implication. It was not always so, as others may have previously recognised.
Strategies involving seemingly innovative intentions, means and processes, can become confused with 'anticipated or superficial style', resulting in the lack of clarification of either content or form. This is the point at which 'consideration' is of paramount importance to help unravel the ensuing sense of panic and confusion. The suspended gap maybe not be a 'nothing, after all.
To realise that processes in life and art take so long as they need, is to glimpse the 'generator' as it always is in nature. The imperative is to acknowledge, and to respect the fragile and symbolic balance between ' the will to 'form' and 'form, which teeter on the cusp of effect whilst yearning for interpretation, or in some instances resolution, or perhaps, even 'clarity'.
Christopher studied 'craft' lithography and painting at the West of England College of Art Bristol. An Art Teachers Diploma at the Cardiff College of Art followed this. His experience of other art institions includes community education and appointment as Art Advisor to the University Settlement, Bristol. From 1962 to 1991 he was involved with many strategic changes in Art and Design education, contributing to the development of the Preliminary, Pre Diploma and Foundation Courses at Cardiff College of Art (latterly as Director of the Foundation Course in Art and Design). Subsequently he was associated with the organisation and development of The Cardiff Open Art School.
He has exhibited widely in the UK and abroad and in the 1960's showed frequently at the Axiom Gallery in London. His work is in the public collections of the Arts Council of Wales, Contemporary Art Society for Wales, National Museum and Gallery of Wales, Cardiff County Council, Duffryn House, University of Swansea and The National Gallery of Slovakia.