Claire Ongley

Joined Artfinder: Nov. 2014

Artworks for sale: 11

United Kingdom

About Claire Ongley

 
 
  • Biography
    I’m curious to make an ‘awkward’ painting. The focus of investigation involves juxtaposing the unpredictable use of paint against the ‘rehearsed mark’. Previously, collage acted a formal framework to compositional ideas. Now, spontaneous, yet considered compositions are fabricated from imagination. Masked areas allow this spontaneity within that frame, and once removed the viewer is denied from total chaos and brought back to the thought-out composition. 
    The changing scales of brushstrokes establish breaks from the rest of the painting. The motifs become devices to create a tension. The flowers, birds and insects are organic, colourful forms, which in paint create intimate painterly encounters. They also have a particular place in the history of painting and as traditional subjects, but become awkward because of how they are composed. Pace is dictated through the gestural qualities operating over a large surface and generating an energy. Some marks appear accidental, but others are highly controlled, sometimes rehearsed.
  • Links
  • Education

    2010 - 2013

    Leeds Metropolitan University

    2009 - 2010

    University for the Creative Arts

  • Upcoming Events

    There are no upcoming events

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    Previous events

    Event: Parallax Art Fair

    Dates: 13 Feb 2016 - 14 Feb 2016

    Venue: Parallax Art Fair, Chelsea Town Hall, Kings Road, London

    Europe's largest art fair held at Chelsea Town Hall, Kings Road, London

Links


Education

2010 - 2013

Leeds Metropolitan University

2009 - 2010

University for the Creative Arts


There are no upcoming events

Show previous events Hide previous events

Previous events

Event: Parallax Art Fair

Dates: 13 Feb 2016 - 14 Feb 2016

Venue: Parallax Art Fair, Chelsea Town Hall, Kings Road, London

Europe's largest art fair held at Chelsea Town Hall, Kings Road, London


 

Biography

I’m curious to make an ‘awkward’ painting. The focus of investigation involves juxtaposing the unpredictable use of paint against the ‘rehearsed mark’. Previously, collage acted a formal framework to compositional ideas. Now, spontaneous, yet considered compositions are fabricated from imagination. Masked areas allow this spontaneity within that frame, and once removed the viewer is denied from total chaos and brought back to the thought-out composition. 
The changing scales of brushstrokes establish breaks from the rest of the painting. The motifs become devices to create a tension. The flowers, birds and insects are organic, colourful forms, which in paint create intimate painterly encounters. They also have a particular place in the history of painting and as traditional subjects, but become awkward because of how they are composed. Pace is dictated through the gestural qualities operating over a large surface and generating an energy. Some marks appear accidental, but others are highly controlled, sometimes rehearsed.