Since its establishment in 1984, the Charles Nodrum Gallery’s exhibition program embraces a diversity of media and styles - from painting, sculpture & works on paper to graphics and photography; from figurative, geometric, gestural, surrealist & social comment to installation & conceptually based work.
— Short Introduction
For most people the gallery exhibition is the main focus for art; where work is presented for public consumption, where it all comes together in its most ideal form. The place where art is made is unseen, private and, if not exactly secret, incidental to its ‘product’. Like the barbecue and the abattoir, you can’t have the show without the studio.
But the studio isn’t simply the production line for the gallery. It’s the place where thinking, invention and personal confrontation take place and where there is the stuff from which art is made and that accompanies its making. It’s where materials, ideas and things seen are brought to be recycled. Out of its often messy environment come thoughts ordered in the form of artworks. Seen in this way - the studio as laboratory, whatever its form - it is the most important centre of art, and the rest is its residue. Here, at Church Street, the gallery is an extension of the studio.
‘The Studio’ isn’t the studio but an idealised reminder of art’s centre. The artists, from different generations and working in different ways, were chosen because their work recognises or pictures or rehearses or reflects the structures and freedoms of the studio itself.
The Back Room comes from the racks of the gallery stock room. With many artworks sitting coincidentally together, so many potential relationships can change our understanding or shift our perception. Without an exhibition theme, program, or idea that so often cloaks artworks in a curator’s interests, we hope that each work will speak directly and have a conversation with others with a viewer’s participation.