On the Go
Having had both a religious and a science background, my artistic practice has often inhabited this territory. I have been interested in the way that a made or positioned piece can be a metaphor for future events or movements or for those that have already occurred, and how this may challenge our (scientific) perceptions, religious notions or daily activities. For instance, the idea of a 'fake' or 'copy' when attributed to something can lead us to question its validity or authenticity and how, once perceived as such, it might cease to become important or conversely, that its intrinsic value might increase.
Experimental by nature, I have tended to place an emphasis on the material that I use and that tends to be plastic and other oil based derivatives. The versatility of these materials often spark off ideas which can be developed further. In the act of production, the work provides a possible container for my ideas, experiments and feelings. The act of completion can be more problematic.
Some of my work is characterized by process, it may raise questions about the act of making and painting, the choice of subject matter as well as the finished object itself. I have often focused on the peripheral or overlooked. I may labour on a piece as if it were a construction, sometimes producing individual parts separately to add, a piece at a time to the construction and all the while, the work lays horizontally at waist height or on the floor.
Decisions about when a piece is finished are sometimes arbitrary.
Many of my paintings have a smooth and highly polished surface that may allude to photographic or digital production processes. They directly contrast the notion of a hand crafted or painterly piece of work with evidence of the artists handiwork almost absent.
I think that being creative, that making and doing are fundamental activities for me – probably they are for everyone.
One of the many problems that I face is the tendency to get side tracked, especially if I find something old or thrown away that I might find a new use for.
Behind the wheel I'm most dangerous when I see a skip.
Philip Cole January 2014
Nationality: British – born in Fareham, Hampshire in 1961. Works and Lives in Brighton, UK.
Studio address: 4S1 Phoenix Brighton, 10 - 14 Waterloo Place Brighton BN2 9NB East Sussex, UK
1988 PGCE Science University of Sussex Brighton
1982 BSc (Hons) 2:1 Biology University of Sussex, Brighton, East Sussex
2016 Editions '16 Project 78 Gallery. St Leonards-on-Sea
2015 Editions '15 Project 78 Gallery. St Leonards-on-Sea
2015 'East Sussex Open' Towner, Devonshire Park, College Rd, Eastbourne,
2014 '20 Painters' Phoenix Gallery Brighton
2014 ++(+)+ WP29 Community Arts Center Brighton
2013 'Dust & Vermin' A curated Pop up Gallery at various venues Brighton
2012 'Final Light' Phoenix Brighton
2010 'Diastr' Phoenix Gallery Brighton
2010 'Colecorner on the Hoof' at Factory Brighton
2009 'Keep off the Grass' Open house, Brighton Festival
2008 'Preparing for Emergencies' Open house, Brighton Festival
2003 'Cracks in the Empirical Pavement' Phoenix Gallery, Brighton
2003 'Temporal' Phoenix Gallery, Brighton
2002 'Hang Ten' Phoenix Gallery, Brighton
2001 "Adding and Subtracting' Redroaster, Brighton
2000 '21x21' University Gallery, Newcastle
2000 Sussex Open, Brighton
1998 'Re-Enchant' Open House, Brighton
Current Artist at Phoenix Brighton Studio 4S1 Waterloo Place Brighton 10–14 Waterloo Place Brighton BN2 9NB East Sussex UK
Current Quality Nominee, Teacher of Science, Tutor, Eco Coordinator, School Mentor Downlands school, Hassocks, West Sussex
07 – 15 Trustee, Project Art Works: An artist led organisation that works alongside people with complex needs on a range of visual art projects
99 – 12 Member of the Artistic strategy group, Phoenix Brighton
89 – 92 Head of House, Oakmeeds school, Burgess Hill, West Sussex
87 – 89 General Manager, Scotch House Ltd. Regent Street, London
85 – 87 Assistant General Manager, Burberrys Ltd. Regent Street, London