IN Conversation with(4)…

IN Conversation with(4)…Neil Ferguson, John Freeman, Hugh Gilmour,Irene Godfrey & Qing Qi.

“From Where YOU Sit”… An Exhibition of 5 paintings.

Image Event 4

Saturday 16 April 2016, 4-8 pm

Sunday 17 April  2.30 – 5.30

Discussion: Sunday 17 April, 2.30-3.30


IN CONVERSATION is located at the rear of 104 Adelaide Avenue, accessible from Ivy Road, London, SE4 1YR


The forthcoming IN Conversation with (4)… event places importance on the artists placing a chair exactly where they think their painting is best be viewed from.

This placing will be influenced by factors such as height and size of chairs, scale of paintings, placement on wall and the positioning of other works and chairs, but for this event, where THEY think the work is best viewed.

Regularly, art audiences shuffle through exhibitions like captives  made to follow chronological pathways of discovery through roping electric buzzers and cordoned off areas.  But these experiences of painting are influenced by crowd control and insurance claim considerations.

Seldom is this spectator allowed time or facility to sit down and consider the best form of reception of the efforts in front of them. How do we think we are supposed to look at painting? Can all painting be looked at the same way? Clearly there is room for opinion and debate.

However, it is also arguable that in offering an audience a total freedom allows any greater clarity in working out what they are supposed to notice.

On a practical level, simple seating is seldom available as it is probably seen as being intrusive. It is never available in front of an “important“, painting.

This event offers the spectators a rather unique invitation from the artists involved, “to sit where they think the painting is best looked at from”. This will inevitably be challenged by the participating spectators but at the very least it offers a direct contact with the painter’s thinking on the viewing of their work.


Need a painter consider or influence how their work will be looked at? If so, how, if not, why not?

What does knowing a painter’s opinion on the viewing of their work offer?


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