Output details

Working against the System, 6 page essay and 7 page interview in book C. Lomax and H. Baker (Ed), About Painting, Transition Gallery, Newcastle on Tyne 158pp ISBN 978-0-9568814-03 and in “Painting. Materials. Matters. Pip Seymour in Conversation with the painter Yvonne Hindle,” in Zētēsis: The International Journal of Fine Art, Philosophy and the Wild Sciences, Vol 1, No. 2, (Article Press: 2013), pp. 39-47. ISBN: 978-1-873352-07-6.

The work consisted of a series of wall paintings that explored the use of materials and a conceptual approach to painting. This was the second of a series of three group exhibitions concerned with the historical development of Systems. The artist presented a number of oval paintings each of which addressed ideas of temporality, transition and autonomy. The work also set out to explore the visual conflation between figure and ground to engineer a specifically durational experience for the viewer encountering her work. This was achieved by layering films of translucent coloured, visceral paint onto the surface of the paintings to create an illusion of inner space and time. This working process was a development of Hindle’s extensive research and experimentation with historical and newly formulated paint technologies that had been created with Pip Seymour, a paint manufacturer. For this new exhibition Seymour created fresh laboratory acrylic formulations with which Hindle could experiment, thus also aiding the manufacturer to further develop their product before going into commercial production. Funding £500 BIAD Research Committee, BCU. The paintings oscillate between image, formal abstraction and sculptural form. In so doing, with Hindle pressing at the very edge of painting practice, evoking also the illusion of an “inner space” to painting, in a state of unsettled becoming (the potential image). Exhibited at the group show Working Against the System the work was described as “individually reclaiming systems of production only to throw these systems deliberately off course by orchestrating the unexpected and problematic.” In the Interview that is subsequently published in Zetesis, Hindle gives insight into the activity of painting, her approach to practice and her commitment to the lineage of abstraction, the (Neo) Baroque and the Sublime. Photographic documentation at Gallery North and Transition Gallery.