DRAWING A WIDER VIEW - Christopher Green -PRICE LIST

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DRAWING A WIDER VIEW

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24.02.14/24.03.14

http://

www.artmoorhous e.com

AN EXHIBITION OF DRAWING BY CHRISTOPHER GREEN N0

TITLE

SIZE

MEDIA

PRICE

1

ALEXANDRA PARK, WINTER SPRING, 2013

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ALEXANDRA PARK, SUMMER, 2013 148.5CM X 210CM

INK ON PAPER

£3,840

3

ST BARTHOLOMEW-THE-GREAT, 2013

119.2CM X 298CM

INK ON PAPER

£4,440

4

ALEXANDRA PARK, AUTUMN, 2013

127.5CM X 168CM

INK ON PAPER

£3,840

5

ST STEPHEN WALBROOK, 2012

168CM X 168CM

INK ON PAPER

PRIVATE COLLECTION

163.5CM X 314.7CM INK ON PAPER

£4,440

N0

TITLE

SIZE

MEDIA

6

ALL HALLOWS-ON-THE-WALL, 2013

59.5M X 61CM

INK ON PAPER

£1,560

7

ST MARY WOOLNOTH, 2013

71.5CM X 66CM

INK ON PAPER

£1,560

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LIVERPOOL STREET, 2011

INK ON PAPER 87CM X 87CM

87CM X 87CM

INK ON PAPER

£1,200

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RAINHAM MARSHES, 2009

105CM X 354CM INK ON PAPER

£3,000

PRICE

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ARTIST’S STATEMENT

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I specialise in making large-scale monochrome ink drawings of the landscape, cityscapes and interiors. Working entirely on-site my aim is to represent the visual experience of being somewhere in particular. I am especially interested in what happens when a drawing expands from the centre into the periphery of vision. I have developed a method of joining together sheets of usually A3 paper allowing the angle of vision to widen while continuing to draw. I use measuring to keep track of the relative scale and position of things. Being unable to see the whole drawing at once for practical reasons, misjudgements often occur leading to sometimes surprising inconsistencies and fractures.

The drawings reveal my successive attempts to get to grips with space.

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The work takes place over long periods of time. I aim to stay true to my experience by recording everything as it appears in the moment. The result is drawings where multiple states of time exist simultaneously. The effects of morning and afternoon, different weather conditions even different seasons can be seen in the same drawing. I describe rapidly moving people and traffic in as much detail as the moment allows. The final picture is built from my attempt to draw the way things appear in space, and everything that happened in a particular place over time.

!! !! !! !! !CHRISTOPHER GREEN’S NEW DRAWINGS

By William Feaver

Writer and Critic

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Deployed on a new world, NASA’s Curiosity Mars rover trundles around treating every little lump of rock or trackless dune as a photo opportunity. Raising its snout , it has also sighted a distinct twinkle in the blackness: Mother Earth.

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Certainly this is a far-fetched parallel to draw to Chris Green’s drawings but it’s one that holds good. For what he draws and the persistence with which he lengthens, broadens and deepens his take on ordinariness, has a strange pioneering quality. Within his panoramic scope the London area takes on a newly discovered look.

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Landing himself with immense scenic challenges he works his way outwards from every centre, taking in foreground and distance with deep field focus, his concentration urging him on from feature to feature, attending to the complexities that pixels deal with routinely but that, with him, become wonderfully insistent. Indoors he reminds us that spaces enclose us in much the same way that a skull contains the brain. Outdoors he ranges widely from each selected spot -from the Thames northwards to Alexandra Park- providing with each great composite image a sense of having just landed somewhere marvellous, a land where, after the aridity of Mars, there’s business and cultivation, atmosphere, cloud cover, breeze on the grasses and proliferation of species.

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How wonderful to see where we live now so diligently and appreciatively and transcendently set down on so many conjoined bits of paper.

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UNPAIRED VISION

By Silvio Saura

Editorial Director of ARTEiN Art Magazine

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Away from the glare and the show of new technologies, there is movement: a new generation of artists returning to the essential - to a pure, direct, unplugged stroke as a way to define an immediate visual awareness of reality.

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Christopher Green works slowly, without haste, brush in hand. The new concept of ‘time’ as a medium, developed in the 1970’s by artists like Jenny Holzer and Christian Boltanski, is adapted here, anachronistically, to the contemporary. Speaking about his work, Green states that he draws on A3 paper sheets that he combines to form the complete picture. This aspect of his work is very “important” - the composition of the images is fragmented, as if it were a film. He draws frame by frame to create the full image. Sometimes there are changes, anomalies, inconsistencies that create a sort of a time lapses between one paper sheet and the next. The edge of each single sheet becomes then the boundary between two adjacent yet different dimensions.

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Even his technique, ink on paper, relates to this concept; the time passes only once and does not allow for corrections. The ink sketch does not admit mistakes. Green seems to tell us that we are not only the sum of the individual moments of our lives, but the product of the new aspects that each of them acquire at every new moment. This new idea of time affects the artist, who represents simultaneously different times of the same scene, introducing in this way a time variable. Not surprisingly, his drawings show the feelings and thoughts that we experience with the passing of moments. In his work, the total image radiates over time.

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For Green it is meaningless to reproduce reality as we see it because it is not in that form that we know it. Our consciousness revises the visual image of the object that we know - what we see is only a starting point that will then be transformed by our consciousness, repeatedly, over time.

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The viewer is involved in a sort of disarticulation of the chronological order of a ‘before’ and an ‘after’, contaminated simultaneously by past and present; he reads and he feels the present time, although filtering it through the past. The causal-chronological succession order shatters, generating a continuous transition between past and present. In this way Green’s work relates to the Cubist’s multiple perspective that includes the dimension of time: once a work took possession of the space, now it reigns over time.

Green breaks reality down in its many faces to then reconstruct it by placing them back, side by side, in his compositions; a way to return to the eyes and restore reality in its essence. As in Analytical Cubism, in the twodimensionality of the drawing, we see the reality as a whole as it happens in our consciousness by observing it from all sides possible.

In works such as Rainham Marshes, in order to get an overall view, there is the confluence in a single image of a plurality of moments of perception, which directly corresponds to the plurality points of view. The total view of the horizon does not just give us information about the various aspects of its volume in space but, as it is the result of our knowledge through memory, it gives us, above all, information on the duration of its permanence of it in our consciousness.

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BIOGRAPHY!

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Exhibitions!

2013 Royal Courts of Justice, Rolls Building, Fetter Lane, The Ballroom Drawings Sunday Times Watercolour Exhibition, Mall Galleries St Stephen Walbrook, London, A Large Drawing of St Stephen Walbrook Department of Coffee and Social Affairs, Leather Lane, Throw Those Curtains JMW Turner’s House, Twickenham, Artists of the Pageant

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2012 New English Art Club Open Exhibition, Mall Galleries Sunday Times Watercolour Exhibition, Mall Galleries Piers Feetham Gallery, Fulham, Drawn to the Line Prince’s Drawing School, Big Drawings, 6 Foot and Over Lynn Painter-Stainers Prize, Mall Galleries White Wall Space, Leigh-on-sea, riverrama

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2011 The London Group Open Exhibition, The Cello Factory Bankside Gallery, London Lives Buckingham Palace, Prince’s Drawing School 10th Anniversary Ball

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2010 Piers Feetham Gallery, Fulham, Thames HMS President, Blackfriars, A Panoramic Drawing of the King’s Reach

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2009-8 Menier Gallery, Six of the Prince’s The Foundry, Old Street Windsor Castle, Prince’s Drawing School Patron’s Dinner Prince’s Drawing School, Drawing Year Exhibition

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Collections!

Royal Courts of Justice Hermes Collection, Paris Forbes Collection, Chateau de Balleroy, Normandy Royal Collection, Duchess of Cornwall Lord and Lady Bacon, Raveningham Hall, Norfolk Paintings in Hospitals

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Awards!

2012 Lynn Painter-Stainers Prize, runner-up 2008 Prince’s Drawing School, External Assessment Board Prize

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Education!

2007-9 Prince’s Drawing School, Drawing Year, Artist in Residence 2005-6 Byam Shaw School of Art, Central St Martins, MA Fine Art 1999-2002 Norwich School of Art, BA Cultural Studies

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CONTACTS:

ARTMOORHOUSE Moor House 120 London Wall London EC2Y 5ET T. +44 (0)7502211914 T. +44 (0)7919070335 www.artmoorhouse.com info@artmoorhouse.com team@artmoorhouse.com

CHRISTOPHER GREEN WWW.CHRISTOPHERGREEN.INFO MAIL@CHRISTOPHERGREEN.INFO CHRISGREEN101@YAHOO.CO.UK