Nadine Feinson is a fine artist, working across painting, painting installation and text.
Her practice investigates the mechanics of image formation, particularly the gesture and mark-making processes and the resulting qualities of surface. She is also interested in the movement associated with viewing or engaging with a painting and the implications of an extended temporarily of painting as a fine art form.
Nadine Feinson makes paintings, painting installation and text work. She also collaborates with SPV Ltd, which enact transactions incorporating exchange, currency and service. Her research is preoccupied with the mechanics of image formation through mark and gesture and an understanding of painting as a medium of exchange and potential motion.
Artist Nadine Feinson works primarily in paint, with particular interests in the motion or gesture associated with both producing and experiencing a painting, and in debates as to the extended temporality that comes with evidence of these movements.
Investigating the processes associated with the material appearance at the surface of the painting, Nadine Feinson aims to understand the mechanics of image formation through mark and gesture. She works from a position that painting is a medium of exchange and potential perceptual motion despite its apparent fixity, and non-linear temporality plays a critical role in the work.
In her text work she creates notebooks in parallel with paintings in an attempt to describe, through alternative means, the movement between the material and the activity of painting and the describing, thinking and reflection on this activity. The notebooks are transcribed as exactly as possible and the act of transcribing is itself an act of labour, mirroring the act of painting. In a process she describes as ‘re-drawing’, each page of the notebook extends the concept and understanding of painted form, identifying and attempting to describe qualities or activities in a painting, or in the process of painting, which may be on the edges of what is perceivable or fully articulable.
She completed a degree in painting at the University of Brighton, MFA at Goldsmiths College and a practice led MPhil at the Royal College of Art. Her research thesis explores the properties of motion particular to painting through the ‘blot’ as an ‘illegitimate’ temporal opening on a painting.
Feinson also collaborates with SPV Ltd which was set, up by three artists and a Tax Director in 2012, and performs and problematizes financial transactions in order to question labour and economic devises.
She exhibits both in the UK and internationally and her work is held in private collections including the UBS Art Collection, London.
Private website www.nadinefeinson.com
MPhil, Painting Dept., Royal College of Art.
MFA, Goldsmiths College
Contemporary Painting, Collyer Bristow, London
SPV Ltd transactional event, Sub-Cell, The Old Police Cells, Brighton
SPV (Trans Channel) Ltd transactional event, 'Entre Deux/In Between', Diep Haven Festival (supported by Ministère de la Culture and Arts Council of England)
‘RIF/T’, BALTIC project space, Newcastle
Triboelectric Series, a site-specific work made for RIFF/T, an exhibition at the BALTIC Centre for Contemporary Art's project space BALTIC 39, Newcastle, 11th December 2013 - 2nd March 2014. Curated by Matthew Hearn, Thomas Wittle and Sebastian Trend.
The work co-opted the properties of static electricity and was researched in collaboration with Dr Mark Oxborough, Imperial College. It explored the material properties of polythene dustsheets as a painting support and their ability to retain static charge - resulting in the contact-electrification of the painting. The thin plastic sheet, electrostatically charged, is a responsive ‘film’ that clings, shifts and moves on the wall. It responds to touch, rubbing and buffing, to atmospherics in the exhibition space, gravity, and the weight of paint. Holes in the surface, drafts, and moisture – all these things shorten its ‘life-span’. As paint is applied, it stretches, puckers and falls into holes, so that paint is deposited on the wall underneath: the polythene creating its own repertoire of ‘gestures’ in the wake of painting activity.
‘Dirty Pop’, &Model Gallery, Leeds
SPV (Buconero) Ltd ‘Providers of a Tax Free Haven’, Gazebo, London
SPV (Buconero) Ltd, ‘Providers of a Tax Free Haven’, LUPA 20, London.
'100 Curators 100 Days', Saatchi online exhibition, work selected by curator Emma Dean, BALTIC, Gateshead
'Polemically Small’, (touring) Orleans House Gallery, Richmond,
(De)constructions’, Rollo Contemporary, London
Contemporary Art Society loan collection, Circle Hospital, Bath
‘NEW’, Rollo Contemporary Art, London
‘Memento Mori’, Hoxton Art Gallery, London
‘Decoy Paintings', Idea Store Whitechapel, London, solo show
‘Day Trip to Hastings’, LIDO Project Space, St. Leonards-on-Sea, two person show with Dylan Shipton (supported by the Arts Council)
‘Lights Are On But Nobody’s Home’, Standpoint Gallery, London
'Polemically Small - on paper’, The Future Can Wait, Torrance Art Museum, CA, USA
‘New British Painting’, Gallery Kalhama & Piippo Contemporary, Helsinki (supported by the British Council, in collaboration with Charlie Smith Gallery)
'Le Weekend Sept Jour', École Nationale Supérieure des Beaux-Arts, Paris
‘On the Edge', Rollo Contemporary Art, London
'The Future Can Wait 08', Old Truman Brewery, London
'Travelogue', One in the Other Gallery, London
‘New London School’, Mark Moore Gallery, Santa Monica, LA
‘Shadowy’, Standpoint Gallery, London
‘Gyre and Gimble’, Blyth Gallery, Imperial College, London
‘The Future Can Wait’, Old Truman Brewery, London
‘Avatar of Sacred Discontent’, (touring), T1+2 Gallery, London
‘Salon 2007: New British Painting’, 319 Portobello Road, London
‘New London Kicks II’, Wooster Projects, New York
‘Beauty and the Beast’, Fieldgate Gallery, London
‘New London Kicks’, Soho House, New York
‘Altered Beast’, Three Colts Gallery, London
‘Yabadabadoo’, Cell Project Space, London
‘We Have Left the City Gates’, The Nunnery, London
/seconds Issue 13 - 'The Subjectile: Collapse, Betrayal and Subterfuge', www.slashseconds.org, online publication, contrib. 'Cosmotop Series 5080', eds. Peter Lewis and Peter Fillingham
Publication as part of ‘Day Trip to St. Leonards on Sea’, pub. LIDO Projects, St. Leonards on Sea
Catalogue ‘Le Weekend Sept Jour’, École Nationale Supérieure des Beaux-Arts, Paris
/seconds Issue 12: Archetype: Going Underground/The Cruel Scene of the Image,www.slashseconds.org, online publication, article, Painting the Perfect Cannibal', ed. Peter Lewis
/seconds (edition v): ‘Multitude: Handbook for Disobedience’, online publication, contrib. to 'Painting in Multitude', www.slashseconds.org, online publication, eds. Peter Lewis and Derek Horton
‘Exhibition Previews: Riff/T - Newcastle upon Tyne’, The Guardian, Saturday 11th January.
'Ellsworth Kelly, RIFF/T, Hannah Höch: the week's art shows in pictures', by Skye Sherwin and Robert Clark, The Guardian, Friday 10 January.
'What to Buy at London Art Fair' by Charlotte Jansen, www.artslant.com, 21st January .
'London Art Fair: Art Projects the ten best bits' by Pryle Behrman, curator of Art Projects, London Art Fair, The Telegraph, 17th January.
‘London Art Fair 2013' by art critic Tom Jeffreys, The Journal of Wild Culture, 16 January.
'The London Art Scene Moves Away From Big Money Conceptualism - Painting Re-Emerges' by Tom Jeffreys, Art - International, www.kunsthart.org, 12th November.
'Shadowy' Standpoint Gallery, London, by Peter Chapman, The Independent, January 12 – 18 January.
'The Unorthodoxy of Paint and Pencil', Salon 2007, by Meredith Etherington-Smith, Blouin Artinfo, 14 November.
UBS Art Collection, London
The Tavistock and Portman NHS Foundation Trust
Public Catalogue Foundation Arts Charity
Kolon Art Collection, Korea
Private collection of Robert Devereux
Private collections in the UK, France, Switzerland, USA and Italy.
Ministère de la Culture and Arts Council funded, 'Entre Deux/In Between', Diep Haven Festival, SPV (Trans Channel) Ltd transactional event.
Lottery Funding/Arts Council funded and East Sussex County Council, ‘Day Trip to Hastings’, LIDO Project Space, St. Leonards-on-Sea
Arts council funded, ‘Altered Beast’, Three Colts Gallery, London