115. CALLUM
INNES
 |
Exposed Painting Charcoal Black Orange Oxide, 2013
oil on linen
(235 x 230 cm)
oil on linen
(235 x 230 cm)
 |
Untitled
No. 24, 2012
oil on linen
(180 x 175 cm)
oil on linen
(180 x 175 cm)
 |
Untitled,
from the Cento series, 2011
oil on oil paper
(205 x 100 cm)
oil on oil paper
(205 x 100 cm)
BIO & STEPS
Born:
In Edinburgh in 1962. Scotland
Studies:
He studied drawing and painting at Gray's School of Art from
1980 to 1984 and then completed a post-graduate degree at Edinburgh College of
Art, in 1985.
Nowadays:
Callum Innes
lives and works in Scotland.
Themes and
style:
He tends
to work alternately on a number of disparate series, each of which he
repeatedly revisits. In his Exposed Paintings a single color, mixed by the
artist, is brushed on to the canvas. Turpentine is then repeatedly applied by
brush to remove the paint before it begins to dry. Innes washes away or, as he
has described it, "unpaints" the canvas, leaving all but the faintest
vestigial traces of color. The result reveals varied veils of color buried
within the seemingly monochromatic single pigment. Each finished painting thus
suggests a freezing in time of the otherwise momentary arrest of an ongoing
process. The play between the additive and subtractive process, the making and
unmaking, underlies this sophisticated body of work.
Techniques:
His work
is developed in paintings, oil on canvas.
Exhibitions
He began exhibiting in the mid-to-late 1980s and in 1992 had
two major exhibitions in public galleries, at the ICA, London and the Scottish
National Gallery of Modern Art, Edinburgh. Since then he has emerged as one of
the most significant abstract painters of his generation, achieving widespread
recognition through major solo and group exhibitions worldwide.
See more here: http://www.calluminnes.com/exhibitions/invite-cards/
Representative
Galleries:
Frith Street Gallery
Sean Kelly Gallery
Ingleby Gallery
Kerlin Gallery
Galerie Tschudi
Edouard Malingue
Loock
“In the
studio, l work on several paintings at the same time. I feed off one onto the
next piece. Keeping them together when they’re shown is truer, but I admit that
when shown individually, they have more power. Apart from the white ones - I
can’t have any distractions when I’m working on those.”
For
more Information:
http://www.frieze.com/issue/article/callum_innes/