Flesh is the reason oil painting was invented.
Willem De Kooning
Clare Price’s work explores ideas around the bodily materiality of paint. In her paintings, voluptuous gestural elements are set against translucent geometric planes. These shapes, drawn from modernist forms and digital tools, ‘pin’ spilled wet vistas, thereby creating ambiguous spaces. Sometimes, stains and goo poured on to raw canvas are untethered, leaving performative traces of the body.
Clare’s paintings investigate the sensuousness of making; the palpable ‘stuff’ of paint that freezes the hidden performance – the interaction with the artist’s body and the materials in the studio – capturing residues of moments like photographic exposures. Her canvasses harness the chaos of the studio to create small universes within the frame. The forces on the canvas are heightened by their containment within the
stretcher, the edges of which themselves hold sensations. The titles chosen by the artist are encrypted autobiographical references that allude to the body, sex, containment, and the moments in which the works were made.