Ffiona Lewis

URBAN WORKS

08 Oct 2010 - 28 Oct 2010
Platter-on-French-Blue-500.jpg
Platter on French Blue


Ffiona Lewis’s latest, small-scale ‘glimpse’ paintings, still life in the main, are drawn from her delight in the social nature of ‘the meal’ and all its observances. A meeting over warm, freshly baked madeleines in a London café becomes a moment in time, a social encounter rich in ritual and minutiae.

Lewis works from her studio retreat out on the east coast of Suffolk. The simplicity of her rural life creates a calmness in which she can reflect on her more gregarious urban existence and clarify the ‘glimpse’.

This exhibition represents the culmination of a year’s work - small oil panels, groups of multiple images (moments of trivia tightly knit with others making a whole experience); drawings and paper works depicting a miscellany of table spoils, used condiments, empty platters and fabric fragments.

Alongside her usual domestic subjects, the exhibition shows a group of floral portraits – children’s picked flower bouquets, the urban exotic bloom, the municipal flowerbed; a botanical journey from urban shop, through to the verges of the coastal path.

“Painting is a constant struggle – an exploration, a questioning of
nature and my internal landscape, the un-regarded more common aspects
of the everyday.
Each day is a journey where I start from nothing; the slate is wiped
clean from the previous day and I have to begin again. The choice of
subject tends to be impulsive. What matters is what you do with the
paint. The spontaneous epiphany gives me the trigger for the work with
paint to occur.” (FL)

 

........Neither landscapes nor still life betray any suggestion of the symbolism with which these genres are often charged. Happily, rocks are rocks and sea urchins are sea urchins. Or rather they are the visible trace of an involvement of observation and curiosity with the shapes of the world and with how their transitory magic may be translated on the flat geometry of a painting....... In the still lives, food and drink  are translated into controlled formal arrangements of colours and lines, but they are also exalted as eloquent portraits of a situation. The white tables covered  with Lewis’  peculiarly black glasses of wine and eating implements are vehicles for an architecture of asymmetry. Each a finely tuned essay on formal balance on the verge of a slippage. Yet at the same time there can be no doubt that these are happy meals, hearty delicious food happily shared with friends, fully enjoyed aperitifs...... (Four Sketches Before Breakfast – Gregorio Magnani; published in Ffiona Lewis - Drawn out of Elsewhere)