Artist Profile - Beth Richardson
Dressed
Medium: acrylic on canvas
Measurements: 155 x 155 cm framed
Year: 2024
Price: Sold - enquire about commission
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Biography
Beth Richardson graduated, with a First, from the University of Gloucestershire with BA (Hons) in Fine Art in 2008. Since then she has been a practising artist, working for much of that time in Portugal. She has returned to the UK to live this summer and is currently building both a new home and studio in Cornwall. Beth has been represented by The Greenstage since she finished her degree. Her work is in collections all over the world and she is regularly exhibited in the UK, Europe, Asia and the USA.
Beth is best known for her large, colourful canvases depicting ordinary objects in largely empty spaces. Her work incorporates paintings and sculptures made in response to the nature and physicality of distinctive, found everyday objects that have ceased to function in their normal way. She is particularly drawn to objects which have a strong visual history and human connotations; chairs, jugs and baths.
Her paintings explore these object's strangely human characteristics, both alone and in relation to each other with the use of ambiguous compositions and skewed perspectives.
Beth's preferred medium is acrylic on canvas. She creates large fields of flat/solid complimentary colours by building up layers of paint, often painting subject matter out until she is happy with the composition.
She cites Giorgio Morandi, Craig Aitchison, Mark Rothko, Barnett Newman and Rachel Whiteread among her artistic influences. It is possible to see where she has drawn inspiration from these artists, but the development in her work is mainly autobiographical, reflecting events in her life.
Artist Statement
“Domestic interiors also become the subject of paintings in which I create psychological spaces and explore the strangely human characteristics the objects reveal both alone and in relation to each other.”
“I am interested in the area of transitional space between the 2-D, conventional use of painting and the move beyond the floor into amore inclusive, installation space. Given the liberty to work on several pieces at once I assemble and alter familiar objects to generate new meanings and readings. The space and nature of the work creates an installation environment, where the individual pieces and even the clutter on the floor can contribute to a whole piece. This organic development of an environment continues to challenge my pre-conceived boundaries of what I believe constitutes a painting.”