Brigitte Kopp

Brigitte makes quilts, collages, sculptures in order that she make comments and tell stories about people and the world – often as critiques of political and social choices.

Earth stories: Copper / Erdgeschichten: Kupfer
2016, textilcollage, h 162 x w 159 cm
1st prize The Gala of the Unexpected at the National Quilt Museum

Stratifications  / Schichtungen
2014, textilcollage, h 120 x w 210 cm

The Clock is Ticking / Die Uhr Tickt,
2016, textilcollage, h 181 x  w 108 cm

Soft Overcome / Sanfte Gewalt 2015, textile collage,204 x 196 x 4 cm



Kerry James Marshall

Painter whose sole intention is to get more images of black people in galleries. To do this he realised that he needed to be a good painter so he becomes better at painting by copying the styles of other painters i.e. rococco large scale historical scenes, impressionist plein air.  You can see it in all his paintings, a need and desire to develop – so anything goes. FIDGETY ARTISTS. He has, as a result become an excellent technical painter [on top of his powerful image making skills]. When making a painting, he will make the clothes / costumes for the models to wear and will get the flowers in and then sets it all up with mannequins as opposed to models.

He has a constant conversation with the History of Art and will take anything from a few weeks to a decade to complete a painting.

Kerry James Marshall, Nude [Spotlight], 2009
Kerry James Marshall. Slow Dance

Ref: Nude

Ref: Slow Dance

Polaroid Studies

Again, another idea that I am exploring. I am not a good photographer but the idea that taking images with a Polaroid adds an element of loss of control. I am not suggesting that amateurs do not have control [I believe the opposite is true more often] but there is certainly an element of informal training, learning by You Tube or from an off the shelf magazine.

I am keen to explore making paintings that are of something that has not perhaps worked as planned. i am also not sure if, at this point it is the real reason but i will engage with making a number of small painting studies from polaroids. having done a few more, i hope to get a better understanding of my purpose. For now, here you can see one such example.

Painting of Polaroid 1. Gouache of Paper. [Perren, 2016]

Scrap Studies.

I have done a few more painted studies, this time of the leftover bits of fabric from a new quilt that is being developed.

Quite pleased with these, not because they are life like but I get a real sense from looking at them of the stage of quilting I was at the time of halting to make these studies.

Study of Piece Leftovers 1. Gouache on Paper. [Perren, 2016]
Study of Fabric Remnant Stack. Pen on Paper. [Perren, 2016]

paint by numbers

Stephen Knott talks quite extensively about the phenomena of Paint-by-Numbers, it’s popularity and attraction, he even ran some workshops while at the RCA. I decided to have a go myself and [although yet to be finished] I enjoyed the ability to do something with my hands while not having to think to much. That is not to say I did not concentrate, in fact it took a lot as the image I had was quite intricate, the numbers very small and, I had to mix colours 50/50 to get the range of shades the painting required [this was in the instructions].

To be completed: Paint by Numbers. [Perren, 2016]

Seattle Bad Art Museum

OBAMA – Seattle’s Official Bad Art Museum of America.

The layout of the space allows the work to be considered in a more appropriate context according to Knott (OBAMA) does revel in the otherness of amateur painting, but its methods of display – with canvases hung above cafe booths within an environment of heady Americana – might offer a more sympathetic contextual setting for such work. P40

Amateur Craft, Bloomsbury.