studio
Recent Paintings Christian Mieves 2013-15
The concept of the artist studio has often been, in a simplifying fashion, linked to a specific art movement and specific type of art work, where the studio ultimately has become a target of the institutional critique (Davidts and Paice 2009) or a ‘pathology of the modern’ (Morgan). However, the question we shall ask here is to what extent the opposite is true today and to what extent the studio and an active studio practice has become a place of resistance to current, increasingly institutionalised tendencies in HE. Dirty Practice (Ayliffe and Mieves, 2015)
Previous page Chair 1,2,3 2015, oil on paper, approx 250 x450 cm
Chair 1 2015, oil on paper, 250 x 150 cm
Chair 3 2015, oil on paper, 250 x 150 cm
Still Life 1 2015, oil on canvas, 90 x 90 cm
Still Life 2 2015, oil on paper, 120 x 120 cm
Object 1, 2011, oil on board, 19 x 25,5 cm.
Group 1, 2011, oil on board, 19 x 25,5 cm
Formation 3, 2011, oil on board, 19 x 25,5 cm.
Kinder 2, 2011, oil on board, 19 x 25,5 cm.
Still Life 3 2015, oil on paper, 120 x 100 cm
Cups 2014, oil on paper, 60 x 55 cm
right: Still Life 6 2015, oil on canvas, 180 x 120 cm
Still Life 6 b 2015, oil on canvas, 180 x 120 cm
Still Life 7 2014, oil on paper, 100 x 90 cm
Still Life 8 2014, oil on paper, 120 x 120 cm
studio 1 2013, oil on paper, 90 x 120 cm
studio 2 2013, oil on paper, 90 x 85 cm
Artist Statement My recent paintings from the series ‘Erosion of Bodies, Spaces and Materials’ draw upon a variety of art-historical sources. All of these paintings, however, are subject to a particular kind of treatment. They exemplify what could be described as ‘contaminated’ image: this process is at work on the painting surface, where the source image is always subtly modified through the painted gesture. Mark-making here is not an index of expression, where the traces of paint are irrevocably tied to the artist’s sensations. Instead, the registration of the mark, and its emphasis upon material facture, explicitly foregrounds the contingency of the image. The continual adjustments and elisions of the surface create the sense of an image perpetually in flux. Subject to the transformations of the painted mark, the image is opened up to a process of potential aspects of ‘corruption’ or ‘contamination’. Through this process, the image is simultaneously disguised and revealed, creating a polarity of distance and proximity: the material surface of the painting contrasts with the elusiveness of the referent.
Bio Christian Mieves is painter based in the North East of England. He is Lecturer in Fine Art at the University of Wolverhampton, UK. He holds a Ph.D. in Fine Art and an MFA from Newcastle University (UK), both funded by the AHRC (Arts and Humanities Research Council). His paintings have been shown at exhibitions in Germany, Mexico, Spain and the United Kingdom. He has published articles in academic journals on issues of exoticism, cannibalism, heterotopias and the beach in the work of Dana Schutz and the trope of fragmentation in Luc Tuymans.
For details please see the attached CV or visit: http://www.mieves.info/
Contact: Christian Mieves Phone E-mail Website
Studio, 2015
0044(0) 7979 557370 mievi@gmx.de http://www.mieves.info
studio Recent Paintings Christian Mieves 2013-15 Contact: website: mieves.info Mobile: 07979557370 E-mail: mievi@gmx.de