TRACK

February 9 - March 8, 2024



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front gallery



installation view - front through to back gallery



installation view - back gallery



installation view - back gallery



installation view - back gallery

 

To celebrate Kristin Stephenson’s new exhibition TRACK, we are working with Alec Bathgate design and writers Anna Smith and Sally Blundell, to make a richly illustrated catalogue of the show. We intend this to be printed within a couple of months – please register interest with the gallery to order your copy now.
Below is an exert from Smith’s text, The Late, Late Show with Kristin Stephenson:

“Having established her reputation as an artist with a unique gift for drawing through her canny observations of both intimate and social spaces, in TRACK, Kristin Stephenson actively embraces an aesthetic pluralism. Without abandoning the power of spare, charcoal lines to render emotion, in this new show she engages in a huge range of possible techniques that point to a still evolving practice where everything is savoured and nothing discarded...Clearly, Stephenson’s is not a still life mentality – there is a fierce temporality tugging at these works which seems to function in two ways. Firstly, the artist paints the object immersively. This is the stuff of the material; the motion of energetic life moving, unresolved. There are parabolic lines, wedges and splotches and pinpricks of colour, a cloud of smudges. There are times when the viewer has an impression of being taken over by a swarming or a gathering of energetic impulses. This kind of temporality is more like an unstable space of excitation, where the power of the moment, the experience itself takes over. Equally, and in a contradictory way, Stephenson chooses to knowingly explore the different means of representing the object she has at her disposal. Calling on language, both within the scene itself and the weight given to titles invites analysis; the viewer is required to step back and reflect. Why this title?”

 

Large works and details


In bed with Hairy Mary (and the rest)

 



Given

 



For John, Jenny, Barry, Steve, Min & Paris

 



Aortica



Selected small works








Images of all forty-six small works can be viewed in the 'Details of works' section below.
Close-ups of the four large works can also be accessed in this section by using the magnifier and scrolling with the arrows.

 

 

Details of works