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‘Bread’ Exhibition Text 

Featuring artists, Connie Burlton, Max Rumbol and Lee Simmonds

BREAD only becomes fibrous when kneaded and manipulated extensively. A well-baked loaf of BREAD is dependent on an accurate measurement of ingredient, yet also on the skills of its maker. Both parties included depend on one another to succeed: negotiation is required. Making BREAD and making a painting alike takes patience, precision in some cases, and requires trial and error. It is a pressing ritual that the artists in this show desire not to, and maybe couldn’t escape.

Much like the progression of making BREAD from the physical knead to the succeeding rise; one could consider the processes revealed in this exhibition empirical pseudo-sciences. We witness here form being reduced to the point of abstraction, where the work takes a metaphysical position, and the material is placed under an exposing microscope. These paintings are generous and uncovering propositions. Investigations confidently evidenced, yet not concluded.

The three artists featured in this exhibition hold a common concern with material and its potential. They each demonstrate an active dialogue with form and dynamically work across both painting and sculpture; adding to the historically persistent discourse that addresses the two mediums. For the Flow Cloud’s preliminary pop-up exhibition, the team at Artual gallery have carefully curated a presentation of paintings that resonate through the body and tap into the subconscious. The Flow Cloud offer this exciting platform to explore the contemporary visual languages demonstrated, yet to also revel in the simplistic gestures that one hopes to witness in a painting; a satisfaction craved and immediately fulfilled by BREAD.

Connie Burlton (b. 1997) begins her process with touch, creative contact being her initial approach to making. Yet, once familiar with the potential of her material, the artist introduces a distance by surrendering authorial control and giving way to chance and spontaneity. Burlton’s paintings demonstrate an inter-dependent relationship between artist and form. Her practice is conversational; she holds a dialogue with material by making painterly gestures and awaiting physical response. Further, the paintings hold a vibrational energy, placing them within the framework and rich history of abstract expressionism.

Burlton investigates form by exhaustively repeating lines reminiscent of her primary source materials; bulbous ceramic ware which often take biomorphic shape. Her work resultantly wavers between figuration and abstraction, fluctuating in a transitional state. The paintings you see in BREAD are likely not in the form that they initially took. An integral part of Burlton’s practice is performing a literal transformation; for example, overturning the painting. She offers then, the stain or bleed of the paint applied on the canvases reverse.


Text By Harriet Abbott