Ana Benaroya, Hot Shot, 2023, Oil on canvas, 119.4 x 101.6 cm (47 x 40 in)
Ana Benaroya, Tonight You Belong to Me, 2023, Oil on canvas, 101.6 x 119.4 cm (40 x 47 in)
Marius Bercea, Art Students Enlightened by the Light of Inspiration, 2024, Oil on canvas, 215 x 190 cm (84 5/8 x 74 3/4 in)
Marius Bercea, The One on the Right is on the Left, 2024, Oil on canvas, 70 x 60 cm (27 1/2 x 23 5/8 in)
Sara Birns, Coalescence of a Wholesome Adrenaline Junkie, 2024, Oil paint and oil pastel on linen, 182.9 x 137.2 cm (72 x 54 in)
Sara Birns, Starlight, 2024, Oil paint on linen, 182.9 x 137.2 cm (72 x 54 in)
Rob & Nick Carter, Oil Paint Scan with Oil Paint, 2023, Oil paint scan mounted on aluminium with oil paint, Framed: 49.5 x 63cm (19 1/2 x 24 3/4 in)
Rob & Nick Carter, Transforming Landscape Painting, 2013-2017, Monitor with player framed, TRT: 2hrs 30 mins, Framed: 99 x 81 x 13 cm (39 x 31 7/8 x 5 1/8 in), Edition of 12 + 5 APs
Marc Dennis, Allegory of All That's Wrong with the World, 2022, Oil on linen, 86.4 x 86.4 cm (34 x 34 in)
Marc Dennis, Wicked, 2023, Oil on linen, 111.8 x 149.9 cm (44 x 59 in)
Dean Fox, The Artists, 2023, Oil on canvas, 79 x 63 cm (31 1/8 x 24 3/4 in)
Dean Fox, The Journey After Gauguin, 2024, Oil on canvas, 200 x 300 cm (78 3/4 x 118 1/8 in)
Conor Harrington, A Bruising Return After The Burn, 2024, Oil and spray paint on linen, 150 x 200 cm (59 x 78 3/4 in)
Conor Harrington, What Goes Around (Nos 11 and 12), 2023, Oil on panel, Each: 40 x 32 cm (15 3/4 x 12 5/8 in)
Savannah Harris, Rocky, 2024, Oil paint, oil stick, sand on canvas, 70 x 45 cm (27 1/2 x 17 3/4 in)
Savannah Harris, Mercurial, 2024, Oil paint, oil stick, sand on canvas, 200 x 190 cm (78 3/4 x 74 3/4 in)
Haroun Hayward, A Painting for Graham Sutherland and Model 500 (Cornstook in Landscape), 2024, Oil, oil stick, oil pastel on wooden panel, 94 x 63 cm (37 x 24 3/4 in)
Haroun Hayward, Beaulieu sur Mer (Night) no 5, 2024, Watercolour on paper, Unframed: 76 x 56 cm (29 7/8 x 22 in)
Rachel Howard, Go By the Forest , 2023, Acrylic, oil and archival marker pen on canvas, 243.8 x 213.4 cm (96 x 84 in)
Rachel Howard, Station Eleven, 2020, Oil on linen, 61 x 50.8 cm (24 x 20 in)
Hettie Inniss, Hide and Seek, 2023, Oil, oil pastel and chalk on canvas, 200 x 30 cm (78 3/4 x 11 3/4 in)
Hettie Inniss, Imposter, 2023, Oil, pigment and sand on linen, 70 x 50 cm (27 1/2 x 19 3/4 in)
Jessie Makinson, Poor Little Fools, 2024, Oil on canvas, 195 x 165 cm (76 3/4 x 65 in)
Jin Meyerson, 1985, 2023-24, Oil and acrylic emulsion on canvas, 200 x 300 cm (78 3/4 x 118 1/8 in)
Jin Meyerson, Allele 21, 2023, Oil on canvas, 53 x 45.5 cm (20 7/8 x 17 7/8 in)
Antony Micallef, Portrait of Francis Bacon, 2023, Oil on linen, 71 x 63 cm (28 x 24 3/4 in)
Antony Micallef, Self-Portrait after Giacometti, 2021-23, Oil and beeswax on linen, 132 x 110 cm (52 x 43 1/4 in)
Christian Rex van Minnen, Griefs Means Pleasures Ends, 2024, Oil on Linen, 243.8 x 157.5 cm (96 x 62 in)
Christian Rex van Minnen, Pleasures Means Griefs Ends, 2024, Oil on linen, 157.5 x 106.7 cm (62 x 42 in)
Glen Pudvine, Face Washing in Head, 2023, Oil on linen, 110 x 90 cm (43 1/4 x 35 3/8 in)
Glen Pudvine, Squatting in Head, 2024, Oil on linen, 180 x 150 cm (70 7/8 x 59 in)
Andrew Sendor, Oneiric phenomenon #8: Silvurlín with Hlín, 2023-24, Oil on matte white Plexiglas, sapele wood, in tiger maple Artist’s frame, Framed: 52.5 x 42 cm (20 5/8 x 16 1/2 in)
Andrew Sendor, Solvej with Casparina and Jensyne at the Labrador Sea, 2023-24, Oil on matte white Plexiglas, walnut wood, in tiger maple Artist’s frame, Framed: 57.8 x 47 cm (22 3/4 x 18 1/2 in)
Mathew Weir, Hellmouth I, 2019-2024, Oil on canvas mounted on board, Unframed: 49 x 34.5 cm (19 1/4 x 13 5/8 in)
Mathew Weir, Mother, 2019-2024, Oil on canvas mounted on board, Unframed: 36.5 x 27.5 cm (14 3/8 x 10 7/8 in)
James White, Indoor Nature, 2022, Oil and varnish on acrylic faced panel in Perspex box frame, 140 x 170 x 7 cm (55 1/8 x 66 7/8 x 2 3/4 in)
(MCW-JW-0002)
James White, Tap, 2019, Oil and varnish on acrylic faced panel in Perspex box frame, 63 x 73 x 7 cm (24 3/4 x 28 3/4 x 2 3/4 in)
Clare Woods, Knot, 2023, Oil on Aluminium, 70 x 70 cm (27 1/2 x 27 1/2 in)
Clare Woods, Dead Loop, 2023, Oil on aluminium, 70 x 70 cm (27 1/2 x 27 1/2 in)
Flora Yukhnovich, Study, 2023, Oil on paper, 15 x 21 cm (5 7/8 x 8 1/4 in)
Flora Yukhnovich, Study, 2023, Oil on paper, 15 x 21 cm (5 7/8 x 8 1/4 in)
Flora Yukhnovich, Study, 2023, Oil on paper, 15 x 21 cm (5 7/8 x 8 1/4 in)
Flora Yukhnovich, Study, 2023, Oil on paper, 15 x 21 cm (5 7/8 x 8 1/4 in)
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Installation view, Episode I: Bump, No.9 Cork Street, London, UK
Photo: Ben Westoby
Bumps live in almost every painting. They develop from molecular flashes of the painter’s brush; lie dormant in secreted junctures obscured by archaeologies of abstraction, or gently froth in those granular idiosyncrasies quietly authoring a metamorphosis of the physiognomic into the gnomic. Bumps are seeds that serve to swing or sway the movement, direction, image, or index of a painting, infecting a range of different assertions voiced across the dissonant terrains of surface, action, mark, gesture, figure, intent, subject, and detail: all moments locked into a composition that, when attended, unlock the pattern of its presence and the epistemological entanglements they breed.
Matt Carey-Williams' inaugural Episode, Bump, makes for a hearty soup, with a variety of paintings making manifest the heady, electric variation of such jarring, twitchy germination. The bump can be the impossibly meticulously rendered hair of an eyelid; the elongated, evaporating sweep of a single brushstroke; the rumpus of one colour thwarting the harmony of its surrounding palette; the absence that replaces an expected presence. Bumps phrase painterly singularities, where nothing momentarily becomes something and vice versa, triggering compositions and their protagonists into various states of alarm, action and even ambiguity. They survive across spectra of expression, in plains both hyper-realistic and amoebic and care not for the forms and planes they influence. Whilst they may dislocate or discombobulate, bumps always seek to orchestrate the flux and fizz of a painted surface, simultaneously positioning and empowering themselves as cause, effect and aftermath of a composition’s mark, matter and meaning, leading it – and us – into the light.