Nigel Sharman: Recent Work, 11/05/2018-17/05/2018

Nigel Sharman studied Textile Design at the University of Brighton. Since leaving college in the late 80’s, he has worked across several design fields both here in the UK, as well as internationally in New York and Southern Africa. However whilst his formal artistic education took place in Brighton and some of his early career took place in New York, these days he puts his real education down to, as he explains it, ”being dragged round the galleries of West Penwith in Cornwall as a small boy by my father and introduced to work by Alfred Wallis and Ben Nicholson.”

Whilst currently living and working primarily in London, Nigel’s roots remain firmly in the South West of England, where he also regularly visits and paints, and where the distinct landscape and culture have come to be an increasing and notable influence on his work.

He mostly paints in oils on canvas. Although his work is on first inspection figurative, as one keeps looking carefully at his paintings it is apparent that they always possesses a distinct abstract sophistication too, as if the figurative forms depicted are ultimately just a convenient means to create a basic sense of space and scale, so as to provide a means for the viewer to enter into the picture. By removing much detail, Nigel distils the essence of a complex composition into an arrangement of semi-figurative forms with a particular interest in subtle nuances of colour which evoke a sense of calm.

Although Nigel has been consciously much influenced by mid-century European modernist figurative painters, it was seeing the Tate St.Ives William Scott retrospective in 2013 and the Giorgio Morandi paintings in Italy, in the same year, that had the most profound effect. ”I can remember my pulse rate quickening to alarming levels on these two occasions.”

Nigel Sharman

He says, ”Maybe in ten years time I will be abstract. But I want to continue to evolve with each painting I make, both according to my own intuition, and perhaps by understanding of the thought processes and practices of those artists of the mid twentieth century who inspire me.”

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