Produced by machines, Natasha Kidd’s paintings become live events. Filled to their brim with white emulsion paint and using a peristaltic pump and arterial system of pipes, the paintings are kept full by a continuous loop of wet paint. The paintings ‘call out’ for an attendant to turn a valve and open the flow of paint to each work. By opening the valves the paint is allowed to overflow and escape the canvas support. As it dries, the paint leaves
a residue on the surface of the painting and the floor below it, marking the passing of time and the transition between states.
Date:
2015
Funders:
Arts Council England, Leeds City Council, Carlsberg UK, University of Leeds, Bewleys Hotel, School of the Art Institute of Chicago, Paint Club (University of the Arts London and the University of Leeds)
Event Location:
The Tetley, Leeds
Number of Pieces:
1
Medium:
Canvas on panel, acrylic primer, plastic pipe and fittings, rubber tube, tank, peristaltic pump and emulsion paint
Measurements/Duration:
1.8m x 3m x 0.2m
Exhibition Catalogue Title:
Painting in Time
Note:
Painting in Time explored the relationship between time and contemporary painting. Over the last century perspectives towards painting have increasingly been in flux. This exhibition built on an accumulation of significant moments in the history of art that have marked a shift in both the way that painting is exhibited, and the conceptual framework within which it is produced.
This exhibition was co-curated by artist Sarah Kate Wilson and The Tetley's curator Zoe Sawyer.
Exhibiting artists included Polly Apfelbaum, Claire Ashley, Kristina Buch, Kate Hawkins, Robert Chase Heishman and Megan Schvaneveldt, Natasha Kidd, Rob Leech, Lisa Milroy, Yoko Ono, Hayley Tompkins, Jessica Warboys and Sarah Kate Wilson.