EVERYONE HAS A STORY
a solo exhibition by
Jeremy Russo-Ball is a UK born artist living in Bermondsey, South London, where he also has his studio, within the Arts & Therapy Sanctuary, in SE15.
He completed his BA and MA in Fine Art at Middlesex University, graduating with the MA in 2017.
The main inspiration for Jeremy’s work is the crossing points of Western and Eastern art, culture and philosophy, and the fertile ground these intersections provide.
He has been influenced by the Gutai movement in Japan, Dansaekhwa from Korea, Callum Innes, Barbara Nicholls, Hurvin Anderson, Fiona Rae from the UK, Juan Uslé from Spain, Joan Mitchell and Paul Jenkins from the USA, just to name some of the numerous painters Jeremy has referenced in his research.
Jeremy’s work primarily focuses on painting with acrylics; he has been extensively experimenting with a variety of surfaces including canvas, linen, plastic, watercolour paper: this exploration is on-going.
Jeremy most recently took part in a group exhibition, ‘Permanent Temporary’, at the Bottle Factory, SE1; he is preparing a solo show at Hatcham House, a co-working space in SE14, for April 2022.
At the core of my art practice is the cross-fertilisation of visual and philosophical stimuli from Pan-Western and Pan-Eastern traditions.
My painting practice is rooted in facilitating a continuous feedback and response to the various overlapping interconnections and interactions of all the participatory elements involved, including gesture and breathing patterns.
In the latest body of my work, my painting’s freehand, loosely geometric, form acts as a vessel, where the unpainted space actively performs as an expansive and holding counterpoint.
The volumes of paint that gravitate and accumulate at the form’s borders held in meniscus tension may burst free, naturally, into the unpainted areas, or artificially with my intervention: this is one example relating directly to the degrees of control, intervention, or chance that I choose or not to influence or incorporate in my work.
Observation, coupled with the passage of time, informs me of the paints’ behaviour, spreading or pooling that relate to, or are triggered by, the shifting paper’s contours or cockling, guiding my decisions in applying more paint or not.
The watercolour paper is intentionally left unstretched to promote this organic process.