Alice Browne was born 1986 in London. She lives and works in London, UK. She gained her BA Fine Art Painting at Wimbledon College of Art (2009) and her MA Fine Art Painting at the Royal College of Art (2016). Drawing on an expanse of influences and materials, Browne's painted works describe obscure imaginative spaces, which simultaneously appear to adhere to the rules of gravity and perspective whilst outwardly ignoring them. Boxes, shadows, screens and girders mingle with drips, floating transparent forms and abstract geometric shapes. Her works appear to occupy multiple planes and visual languages, resulting in a complex network of forms that flip between object and image. Recent solo shows include OUTPOST, Norwich, UK (2015), Prosjektrom Normanns, Stavanger, NO (2014); Limoncello, London, UK; annarumma, Naples, IT (2013) The China Shop, Oxford, UK; Supercollider, Blackpool, UK (both 2012). Recent group shows include:
Eduardo Secci Contemporary, Florence (2016/2017), Attic, Nottingham, UK; OVADA, Oxford, UK (both 2014); Fjord, Philadelphia, US; Interno 4, Bologna, IT; Matthews Yard, Croydon, UK (all 2013); dienstgebäude, Zurich, CH (2012); APT Gallery, London, UK (2011); A Foundation, Liverpool, UK; and ICA, London, UK (both 2010).
Timothy Hull was born 1979, New York, NY. He lives in Warwick and Brooklyn, New York. Hull received an MFA at Parsons School of Design, New York, and a BA at New York University, New York. Recent solo exhibitions include: For Ammonis Who Died at 29 in 610 at ASHES/ASHES, Los Angeles, (2016) Painting in the Imperfect Tense, Klaus von Nichtssagend Gallery, New York (2016) and Pastiche Cicero, Fitzroy Gallery, New York (2014). His work has been included in group exhibitions at Mitchell-Innes and Nash, The Hole, FRAC Lorraine, Tate Modern, the Morris Museum of Art, and the Nomas Foundation. His work has been featured and reviewed in the New York Times, Artforum, Art in America, Flash Art, Interview Magazine, the Los Angeles Times, and the San Francisco Chronicle.
The series of work by Hull further articulates the complex territory of language, memory, history and sexuality. Within the richly textured pictures, heavily impastoed patterned surfaces conjoin with iconographic imagery and glyphs in ethereal washes, splashes and splatters. Painterly considerations include surface tensions, the paint itself, aspects of plasticity and conflating visual planes. The work features imagery from Attic vases, others the Kouros, or Edymion figure; some make use of ancient Greek, Coptic and early Arabic scribbling and graffiti, functioning like a wall found in a Ptolemaic archeological dig. He talks about his work in terms of its conceptual and formal qualities. First, it's about ideas- interpretations of history, language and text, empire, sexuality and poetics. Secondly, he strives to achieve a sense of beauty and balance.