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For her first prints for Counter Editions, Celia Hempton has made a pair of nudes - one male and one female. Working through several proof stages, Hempton built up the image to embrace the range of colours offered by the printing process whilst capturing the same fluency of line found in her paintings. Working directly onto the print films in her studio with the subjects sitting for her, Hempton's portraits retain a freshness and immediacy that comes from a portrait created from a live encounter.
Celia Hempton (born 1981, UK) studied MA Painting at the Royal College of Art and BA Fine Art at Glasgow School of Art and lives in London. Displays of her work include shows at Galerie Sultana, Paris, Southard Reid, London, Galleria Lorcan O'Neill, Rome, 'The Magazine Sessions' in Collaboration with Fiorucci Art Trust, Serpentine Sackler Gallery, London, 'The Female Gaze, Part II: Women Look at Men', Cheim & Read, New York, 'The Painting Show', a British Council Touring Exhibition and 'Electronic Superhighway 2016-1966' Whitechapel Gallery, London.
Celia Hempton's cropped close-ups of genitalia, and her bright, often acidic palette update the long tradition of the painted nude. Adopting an approach to her subject that can be both raw and tender, Hempton's paintings are each portraits of a kind “having as a title a person's name“ but they are all faceless, retaining the sitter's anonymity. This sense of distance from the subject is further developed in the way Hempton transfigures the contours and forms of her painted bodies, rendering them in cool, reductive ways suggestive of other forms of nature.