New British Painting: Part I

In this research Marce was interested in placing her particular engament with abstraction in the context of new developments in the field of abstract painting. This research was generated as the result of a sense that some interesting developments were taking place in painting practice among a cohort of younger artists currently working in the UK. In the 1970s there were certain predictions that painting as a practice had run its course. Painting was viewed as part of commodity culture, and the work of art redrafted as a simulacrum. This research brought together a number of voices that collectively offered both a point of view and a commentary on the current condition of abstract painting. The process and methods used for this research were exemplified in the various groupings and shared interests that were evident in the ways that the artworks were displayed to refer to specifically to a spectrum between figuration and abstraction or non-figuration. An artist’s talk about Marce’s work presented at the John Hansard Gallery articulated her role within this research.

This project produced four large paintings that were shown in the New British Painting exhibition alongside works from Katie Pratt, Miho Sato, Danny Rolph, Hans Scheirl and Clare Woods at John Hansard Gallery in Southampton (2003-04).
Another painting was shown at the Walker Art Gallery in Liverpool for the ‘John Moores 23’, a group exhibition including international artists such as David Austen, Alexis Harding, Mark Fairnington, Jason Brooks, Paul Winstanley, Lisa Milroy and Ian Davenport.