Anthea Hamilton’s eclectic formal vocabulary intersperses a diverse array of found objects with fragmented elements of figurative sculpture created by means of her characteristic ‘cut-out’ technique. Silhouettes of legs and arms populate her immersive installations, imbuing them with a performative potentiality. As these figurative proxies assume the role of protagonists, the assembled objects become props in abstract narrative scenarios.
The practice of Jonathan Murphy largely centers on abstract or semi-figurative painting concerned with the layering of colour, shape and texture. His working process incorporates sculpture, including relief work in ceramic, wood and concrete; as well as traditional photographic techniques such as cyanotypes. Studio-based, it involves a continual process of informal curation within the studio space itself. Objects (albeit works made or studio props/detritus) are continually in motion – a sculpture becomes a chair and the bin becomes a plinth to stage a painting. It is within this process of rearrangement that a lexicon of meaning emerges, and with it I write poetry from a fluctuating grammatical structure of motifs and themes.