I have some major paintings on stand H10 with Wills Art at this months Battersea AAF
address is:
Battersea Evolution
Battersea Park
Queenstown Road
London SW11 4NJ (sat nav: SW8 4NW)
UK
Do drop by and have aloof if you can some great work there.
Wednesday, 17 October 2018
RUSSELL AT AFFORDABLE ART FAIR BATTERSEA LONDON 18-21ST OCT
I have some major paintings on stand H10 with Wills Art at this months Battersea AAF
address is:
Battersea Evolution
Battersea Park
Queenstown Road
London SW11 4NJ (sat nav: SW8 4NW)
UK
Do drop by and have aloof if you can some great work there.
Thursday, 11 October 2018
Sunday, 7 October 2018
Landscape Paintings from 2006-10
A series of landscapes from mid 2000's still available on the Smelik and Stokking site in the Netherlands and Gallery there.
All work approx 40 cms square and oil on board
Thursday, 20 September 2018
CONTACT ME AT r.frampton@btinternet.com
CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com CONTACT ME AT r.frampton@btinternet.com
or leave a message on the site
about how you are engaging with this work ...........
or leave a message on the site
about how you are engaging with this work ...........
Saturday, 15 September 2018
WORK AT AFFORDABLE ART FAIR LONDON OCTOBER
There will be a series of my new Gold Block paintings and two solar discs on display and for sale at the Affordable art fair London
At Battersea Park London Oct 18-21 2018
My work will be at Will's Art stand H10
At Battersea Park London Oct 18-21 2018
My work will be at Will's Art stand H10
Drop by if you are nearby, always a good event.
Supporting statement recent body of work
Russell Frampton
The Gold Block series and Solar
discs.
The Gold Block series
This recent body of
work is informed by my continuing research into the physical and metaphorical
nature of archaeological artefacts and votive objects, allied to the
referencing of the symbolic forms and materiality of alchemy. Central to this
practical investigation has been the use of ‘gold’, and the qualities that the material,
with its obvious chromatic and symbolic values, seems to possess. This has
driven both the conceptual and pragmatic concerns within the evolution of this
work. Gold is an alluring and complex symbol of many, often conflicting
meanings, avarice, greed, wealth but also of purity and celebration, and has
been used as the adornment of spiritual and religious iconography as a
devotional act for millennia.
In terms of my process,
I apply metallic imitation gold leaf to a canvas ground of dense acrylic black
paint, using aerosol adhesives and I overlay water based varnish to seal the
leaf. The method of application involves the manipulation of each sheet to form
tears and cracks and I allow chance marks to work with pre cut shapes from the
sheets to gradually form a final composition. The ‘painters eye’ for how a work develops is informed by the
complexities of both the large structural elements and the detailed minutiae of
the fissures and cracks that open almost like river tributaries or coastline.
The leaf is in a way ‘carved’ to allow the black ground to become the ‘graphic’
mark, with each of its surrounding areas displaying a range of ‘weathering’ and
surface anomalies that imparts an organic sensibility to the surface.
There are also references
to the architectural structuring of the plan view, and the aim within each composition
is to create a self-referential sense of order and balance, but one that allows
the dynamics of both the materiality and the constructional process itself to
be paramount.
Whilst I aim to impose
no real sense of the ‘recognisable’ within the forms that occur, there is often
the tendency for the viewer and the artist to interpret them. Perhaps these
canvases are inviting a ‘Rorschach test’ like response, where the subconscious
of the viewer can in a way, complete the picture. Some of the forms that
manifest to me personally refer to mythology, ancient history and my own
painterly history of mark making and the personalised, autographic construction
of symbolic forms over many years.
The titles refer to
connections I have made with the forms themselves, often when making a painting
a word will emerge which acts as a form of poetic catalyst. ‘Parsival’ or
Percivale/Peredur was the knight questing for the holy grail, ‘Taranis‘ the Celtic
god of thunder, ‘Votive forms’ reminiscent of the objects ritually deposited in
well shafts to form archaeological strata.
The Solar Discs
The Solar discs are
direct references to established archaeological finds. The idea of the sun as a
form of deity has been represented in cultures ranging from the Neolithic
through Egyptian and Greek periods to its continued use today. The disc acting
as a form of codified, calendric wheel of prediction, that is both a
cosmological instrument of measurement and a receptacle of meaning of lore and
knowledge. The discs also relate
to the constructional form of wooden slatted, warriors shields, with the
central circular space where the protective shield boss would be. The surfaces
are incised, chiselled and drilled to suggest the weathered and aged patina of
a rediscovered artefact, one that bears the marks of both its implied practical
and mythic use and its constructional history. The symbolism of the shield as a protector, a barrier, and
as the carrier of insignia, as well as its obvious wheel like connotations, are
aspects of the depth and diversity of associative responses to this work.
Russell
Frampton Sept 2018
Russell Frampton MA, PGCE currently works
as a lecturer in Painting, drawing and printmaking on the MA and BA program at
Plymouth College of Art and as a lecturer in Digital performance and Dance film
at The University of Plymouth.
Friday, 7 September 2018
Printing Solar disc 2 at PCA
Working on series of relief prints of Solar disc 2 at Plymouth College of Art print rooms with the help of India, nice and quiet before term starts ........
Tuesday, 28 August 2018
Monday, 11 June 2018
FOLLOW ME ON INSTAGRAM
Hi all I have an Instagram account and I am uploading images straight from the studio there on a very regular basis so to stay in touch with latest news of shows and work follow me at
russellframptonpainter
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Flowers
I was asked to produce a few flower themed paintings for this show in Dorset, about 2 months ago actually made about 15, chose 12 for the show, they are not paintings of flowers they are just paintings and happen to utilise the chromatic range and form of a few floral species as 'painterly elements'.
Unframed and made quickly but with great attention to detail they have triggered a new response to spatial arrangement, ideas explored in the 'Fast Atoms Escape' series.
RF 18
Unframed and made quickly but with great attention to detail they have triggered a new response to spatial arrangement, ideas explored in the 'Fast Atoms Escape' series.
RF 18
Monday, 7 May 2018
Selinus
I exhibited this painting and Range and Summer months at the Exeter Art Fair at the Maynard school Exeter last month and was pleased to sell this work, and donate £500 to Young Minds charity.
The painting came in being quickly perhaps inspired by a re connection with R Cecil's work through a trip to Wales last month and his splendid book, and partly by ongoing process lead explorations at Plymouth College of Art. The painting features some trademark 'vessels' gold leaf, horizon alignments, chiaroscuric soot black ground, and a songbird in a cage!
Tuesday, 3 April 2018
The View Solo show extended till May 2nd
My exhibition at the View Gallery in Thames Ditton extended till May 2nd......
Work has just been to the AAF in NewYork with Wills, and paintings on show at Gallery Top in Derbyshire.
Monday, 26 February 2018
Sunday, 25 February 2018
Thursday, 15 February 2018
Studio today
The View gallery London, Russell Frampton Supporting statement
Russell Frampton was
born in Warsash on the Hampshire coast in 1961, he studied art and more
specifically painting at Portsmouth College of Art, Exeter college of Art and
Design and Plymouth University where he gained an MA in Fine Art in 2002. He
currently is based in Devon where he lectures in Painting, Drawing and Printmaking
at Plymouth college of Art and Screendance and experimental digital dance
practice at Plymouth University. Russell has work in many national and
international collections including the University of Cambridge, Plymouth
University, Exeter University and Lloyds bank.
Russell’s work stems
from deep connections with the experience of landscape, specifically the
moorlands and coasts of the West Country and the coastal fringes of West
Brittany where he had a studio for many years. Recent trips to Australia and
New Zealand and the Basque country of Northern Spain have provided rich new
seams to explore and elements of these landscapes appear in some of the work
exhibited at The View Gallery.
Russell’s paintings engage in a process of inscribing and re-inscribing
the often disparate elements that constitute a place. Multiple layers describe
an accreted surface of almost geological depth, building overlain details and
colour and form juxtapose, aiming for the point of balance, both within the
formal concerns of the painting and the artists connection with the physical
landscape, acting perhaps as a form of mediator or facilitator. Mixed media and
collage elements play a role in enhancing literary, historical and mythological
elements and Russell’s distinctive autographic mark making and colour palette create
the framework within which the paintings can manifest themselves. This very
painterly framework is informed by intuition, theoretical and practical
concerns and underpinned by a proximal connection to materials and their
application.
The connections
between different areas of Russell’s wider practice, [film making, music
production and digital image making] are apparent in many of the processes
inherent in the construction of the work. The editing and re shaping of forms,
the description of temporality and a sense of rhythm and movement that
permeates many paintings, all contribute to an interdisciplinary ethos of
production. Painterly understandings are being continually formed and reformed
and this allows work to be supple and flexible, resisting constraint and
maintaining an informed state of fluidity.
Some of the paintings locate ideas of
ritualised space and archaeological stratification/artifact as central
concepts. The resulting paintings can be seen as two dimensional depictions of
a three dimensional space, within which objects, markers or reference points are
positioned to evoke a sense of the distillation of a liminal architecture.
Indeed the creation of a liminal space, often a component of both painting and
film, seems the most effective way of allowing paintings to exist on the edge,
between states of abstraction and representation, in a form of dynamic flux.
Whilst many of the paintings are direct
responses to places and experiences within landscapes, the formal structure of
the work can be seen in some respects as being abstract, in the sense that the
work is not representing degrees of ‘realistic’ representation. This is because
the concerns are as much with the making of an object and the building of a
painting that refers as much to painting itself as to content, as Roger Hilton
notes:
“Abstract
art is the result of an attempt to make pictures more real, an attempt to come
nearer to the essence of painting.”
In many ways it is the continual search for
this illusive essence that drives the painter to undertake a lifetime of
research and practice. We can often recognise it, sometimes replicate it, and
occasionally capture it to make the paintings ‘more real’ but this essence is
never fixed. The paintings in this
exhibition are the documents of this very search.
Tuesday, 13 February 2018
Monday, 5 February 2018
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