Bigindicator

Giles Eldridge

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Oil On Paper
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Oil On Canvas
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Acrylic On Photograph
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Gouache On Magazine Photograph
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Coloured Pencil
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Gouache On Book Page
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Gouache On Magazine Photograph
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Oil On Paper
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Oil On Canvas Board
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Gouache, Ink And Coloured Pencil
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Coloured Pencil, Ink And Gouache On Book Pages
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Gouache And Watercolour
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Watercolour
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Oil On Canvas Board
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Oil On Canvas
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Oil On Canvas
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Oil On Canvas
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Oil On Canvas
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Gouache On Photograph
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Gouache On Photograph
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Watercolour And Ink
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Graphite
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Ink And Watercolour
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Photocollage And Gouache
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Photocollage
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Photocollage
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Ink On Printed Page And Collage
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Gouache On Photograph
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Oil On Canvas
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Ink And Paper With Coloured Gel
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Gouache On Paper
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Gouache On Printed Paper/Photo
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Ink And Gouache On Paper
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Ink Gouache Coloured Pencil And Felt Tip On Paper
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Photocollage
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Gouache On Coloured Card
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Oil On Paper
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Gouache On Card
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Gouache On Photograph
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Watercolour On Paper
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Gouache And Ink On Card
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Oil On Paper
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Oil On Canvas
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Ink And Gouache On Printed Page
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Ink Gouache And Coloured Pencil On Printed Page
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Oil On Canvas
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Gouache And Ink On Photograph
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Oil On Canvas
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Gouache On Paper
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Graphite On Paper
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Photocollage
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Coloured Pencil On Printed Page
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Ink On Paper Cutout And Collage
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Oil On Paper
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Oil On Canvas
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Gouache On Card
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Photocollage And Coloured Gel
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Photograph
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Coloured Pencil On Paper
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Oil On Paper
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Coloured Pencil On Paper
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Quick Facts
Birthplace
Sheffield, England
Birth year
1965
Lives in
București, România
Works in
București
Schools
Address
gileseldridge@phonecoop.coop

studio ideas - ways of doing nothing

I make a continuing body of visual elements - drawing,  photocollage,  paintings,  photographs, collected images and hybrids. These 'works' are then used to make temporary and contingent installations; these articulations are the work proper. The location of the work is situated somewhere within the differences between images even though each picture remains discreet and separate. Thus rather than dealing with a substantial body of 'works' the practice handles ideas around inconsistency, variabilty, movement, fluidity and negation. These works form a body of water rather than an archive - nothing is dated or titled, there is no necessarily significant content or meaning within each picture. The location of the work proper could be said to exist outside the pictures, i.e. no individual picture can sum up the Studio practice, the work proper only comes into being when it is shown in the varying contexts of different installations. The important aspect is the relationship between items, which produces a space for reading. The images used to make the drawings, paintings etc. all come from existing references such as photographs of paintings, events, objet d'art and so on, articulated in varying styles of execution. Alongside these pictures are works of improvised abstraction derived from a modernist methodology. I think of these as pseudo-abstraction or abstract paintings of the idea of abstract painting. 

A discourse of fragmentation.

Paintings of paintings, drawings of objects, landscapes, portraits, pictures of sculpture, ethnographic references, abstraction, paintings of architecture…spheres and cubes.... photo-collage, combinations and hybrids. In other words a cacophony of modernist tropes and painting conventions quoted ad infinitum.

After the fatigue come bodies of water, which posit differing presentations that in some way recommend a reading starting from the negation - the difference between works in a group of images, then exchanges within the discrepancies.

The work is the production of a Space.

Nothing is important - each thing is an intercepted letter - every picture is a photograph.

Since meaning does not reside in the individual art things, all works are untitled.  All works are sized around A3 or less. All works are dated from the past 10 years to the present day. At the point of exhibition nothing is either old or new.

 

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