Paintings
Nina Royle
Unbounded, 2019
Photo: Steve Tanner
Unbounded was an exhibition of contemporary art exploring some of the many layers of Cornwall’s social and environmental landscapes. The exhibition took place at the Eden Project in 2019 and showcased work by fifteen artists, each working in or deeply connected to Cornwall.
Thalassic Image Cycle, Nina Royle, 2019
Nina Royle exhibited a series of paintings made in 2019 at Unbounded. Her works on shaped gesso panels, made from rabbit skin glue and whiting, are each individual expressions of weather, material physicality and time. Many draw from her experiences of particular Cornish places and combine observations of the small and subjective details which make up the landscape with an overall sense of vastness.
Thalassic Image Cycle, 2019
Ink, oil paint, shellac, shaped gesso and wood panel
Night Composting, 2019
Rabbit skin glue, pigment on a shaped wood and gesso panel
We Walked At the Close of the Eyelash Sun, 2019
Ink, acrylic, oil paint, shaped gesso and wood panel
Fluid Border, 2019
Bideford and lamp black gesso, carved wood panel
This is Where I Bury My Dead Lovers, 2019
Ink, acrylic, oil paint, shaped gesso and wood panel
For Nina the ground of a painting (meaning the surface that holds an image) is a territory or land and the edges, where the painting tapers into another space, constitute a shoreline.
“Within this land, ground can be dug.
It can be explored.
It can be scraped and chiselled.
Things can be buried in it and things can be revealed.
Images bubble to its surface like water travelling up from bedrock or with barbed claws, they come via air to embed themselves on it that way.
How the ground collects images is magnificent and banal.”
Thalassic Image Cycle, 2019
Ink, oil paint, shellac, shaped gesso and wood panel
Night Composting, 2019
Rabbit skin glue, pigment on a shaped wood and gesso panel
We Walked At the Close of the Eyelash Sun, 2019
Ink, acrylic, oil paint, shaped gesso and wood panel
Fluid Border, 2019
Bideford and lamp black gesso, carved wood panel
This is Where I Bury My Dead Lovers, 2019
Ink, acrylic, oil paint, shaped gesso and wood panel
For Nina the ground of a painting (meaning the surface that holds an image) is a territory or land and the edges, where the painting tapers into another space, constitute a shoreline.
“Within this land, ground can be dug.
It can be explored.
It can be scraped and chiselled.
Things can be buried in it and things can be revealed.
Images bubble to its surface like water travelling up from bedrock or with barbed claws, they come via air to embed themselves on it that way.
How the ground collects images is magnificent and banal.”
FUNDERS AND PARTNERS
Unbounded was delivered in partnership with the Eden Project and curated by Field Notes in collaboration with Eden Project curators Céline Holman and Misha Curson.
GET IN TOUCH:
info@fieldnotes.org.ukThe development of this website was supported by Cultivator Cornwall
