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18 June - 10 July
 
DORIS
Nicky Coutts, John Holland, Fiona MacDonald, Liz Murray
at Stedefreund Berlin
 
 www.stedefreund-berlin.de

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14 May - 5 July 2010 

A Point in the Field

Anne Gathmann and Fiona MacDonald

Phoenix Gallery, Exeter

This exhibition brings together two artists who share a desire to represent the underlying ambiguities they find in objects. Together, they reveal a perception that everything visible is in a state of flux and uncertainty, where ‘becoming’ describes a state of being, one that embraces continuous evolution. Berlin based Anne Gathmann’s delicate interventions into public spaces bring to the fore subtle architectural details that are not immediately apparent, highlighting the instability of our spatial perceptions. Her works on paper – flooded with wet paint till they wrinkle and rebel against their two dimensions – give substance (or an illusion of substance) to the ephemeral and unseen.

London based Fiona MacDonald’s interconnected paintings and sculptures rarely directly represent nature, but are inspired by its diversity and uncanny coincidences. The inhabited, totemic presence is key to her work and choice of motif, and suggests a direct link between form and meaning. For MacDonald, morphology and the process of evolution act as a mirror to artistic production. The dynamic compositions of her new semi-figurative works feed into the sense of ‘being’ in motion.

The exhibition was accompanied by a publication with dialogue by the artists and an essay by writer and critic Rebecca Geldard.
 
www.exeterphoenix.org.uk

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May 27th 2010 - 13th June 2010
Unnatural Selection
 
Londonewcastle Project Space, 28 Redchurch Street E2 7DP


Adam Ball, Caroline List,
Freya Douglas-Morris
Fiona MacDonald, Sam Jury,
Christopher Stevens


We are all familiar with Darwin's theory of natural selection, whereby evolution is determined by favourable heritable traits.  This is how organisms survive and thrive or else become redundant and hence extinct. Unnatural Selection as the title suggests is concerned with the distortion and perversion of this order of things.

www.unnatural-selection.co.uk
 
 

Morphology   26.03.09 - 02.05.09
Maddox Arts, 52 Brooks Mews, London W1K 4ED

Morphology is the study of the form or shape of an organism, but also suggests the idea of one thing morphing into another. In evolutionary terms morphological development throws up unexpected parallels and confluences. For the artist, this acts as a mirror to the act of painting. From the simple to the complex, rational to the rococo, this act of transformation in formal terms results in expanding multiplicities of form, and thereby of content.

The works connect and reconnect through colour and form. An almost Klein blue bleeds into several paintings, serving in one as a barely believable sky, reappearing as the electric veins of a biomorphic structure in another.

MacDonald's sculptures often explore forms that are closely allied – the series 'Resemblance' consists of four hanging, baroquely ornamented spheres, whose titles reveal very different sources - a morel mushroom - a hanging basket of summer flowers - a white blood cell - a shower puff.

 

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Istanbul 2009

 

WHO IS TELLING THE STORY

Fiona MacDonald. Gaia Persico. George Young

Ben Cain. Alicia Paz. Andro Semeiko.

Yu Chen Wang. David Blandy

 

Basement 2nd edition with text by

Alasdair Duncan. Georgia Corossi. NIcholas Vaughan.

 

Project part One:

Galata Perform, Istanbul

10-14  September 2009

 

Project Part Two:

October 8-10 2009

1st International Artists Initiative

Organised by Istanbul 2010 European Capital of Culture

 

 

 

Anthropoflora  28.6.07 - 20.7.07

Long & Ryle, 4 John Islip Street, London SW1

 

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Habitat March - May 2006
Phoenix Gallery, Brighton
 
Habitat was a mixed media site specific installation for Phoenix - a dystopian but still beautiful post apocalyptic garden. The idyllic feel created by the sound of rippling water and the artificial garden setting was repeatedly interrupted by artifacts that suggested a presence other than the viewer. Humorous though these interventions were, they had an underlying threat.
 

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