EMALIE BINGHAM
EMALIE BINGHAM, Kidney-16 (Huang Shu)
Mixed media on canvas, 100 x 100 cm
Emalie Bingham presents one of her signature edgy, hand-drawn abstractions characterised by energetic brushstrokes, complex patterns and jittery scribbles that fascinate the eye. Bingham’s work is satirical, humorous and self-reflexive and this work entitled, Kidney Huang Shu, alludes to the artist’s interest in Eastern medicine and remedies.
Contact: info@everardlondon.com
EMALIE BINGHAM, An Ordinary Day 02.09.23
Mixed media on paper, 42 x 29.7 cm
‘My work is centred around emerging and shifting patterns of transformation, connection, and possibility. Both technically and conceptually, I seek to deconstruct and subvert binary paradigms, towards an alternative narrative of fluidity, possibility, and inclusion. I create, collect, dismantle, and redesign marks as symbols, developing a system of abstract signs through form, material, and process. This particular visual alphabet consists of offcuts, incidental strokes, and more intentional, repetitive explorations of personally significant objects. The compositions impose a kind of visual ‘dyslexia’, requiring imaginative readings beyond familiar patterning of ‘language’, and so what each mark represents may depend on interpretation. The emergent abstract designs pose questions and open dialogue around notions of framing, visibility, belonging, transition, chaos, deviance, and perception.’
EMALIE BINGHAM, An Ordinary Day 12.08.23
Collage, 42 x 29.7 cm
‘My work is centred around emerging and shifting patterns of transformation, connection, and possibility. Both technically and conceptually, I seek to deconstruct and subvert binary paradigms, towards an alternative narrative of fluidity, possibility, and inclusion. I create, collect, dismantle, and redesign marks as symbols, developing a system of abstract signs through form, material, and process. This particular visual alphabet consists of offcuts, incidental strokes, and more intentional, repetitive explorations of personally significant objects. The compositions impose a kind of visual ‘dyslexia’, requiring imaginative readings beyond familiar patterning of ‘language’, and so what each mark represents may depend on interpretation. The emergent abstract designs pose questions and open dialogue around notions of framing, visibility, belonging, transition, chaos, deviance, and perception.’
EMALIE BINGHAM, An Ordinary Day 27.04.23
Collage, 42 x 29.7 cm
‘My work is centred around emerging and shifting patterns of transformation, connection, and possibility. Both technically and conceptually, I seek to deconstruct and subvert binary paradigms, towards an alternative narrative of fluidity, possibility, and inclusion. I create, collect, dismantle, and redesign marks as symbols, developing a system of abstract signs through form, material, and process. This particular visual alphabet consists of offcuts, incidental strokes, and more intentional, repetitive explorations of personally significant objects. The compositions impose a kind of visual ‘dyslexia’, requiring imaginative readings beyond familiar patterning of ‘language’, and so what each mark represents may depend on interpretation. The emergent abstract designs pose questions and open dialogue around notions of framing, visibility, belonging, transition, chaos, deviance, and perception.’
EMALIE BINGHAM, Foundation
Mixed media on canvas, 101.6 x 101.6 cm
Emalie Bingham was born in South Africa, where she trained as an artist and exhibited for ten years before relocating to the UK in 2019. This exposed her to a widened variety of sociopolitical, psychospiritual, and design perspectives within a new environment, further shaping and expanding her creative practice. Playfully juxtaposing, layering, and collaging marks as repeating motifs, Emalie Bingham’s mixed media work explores endless possible outcomes, and considers a re-writing of normative attitudes towards grouping, orientation, and order. ‘My work is centred around emerging and shifting patterns of transformation, connection, and possibility. Both technically and conceptually, I seek to deconstruct and subvert binary paradigms, towards an alternative narrative of fluidity, possibility, and inclusion. I create, collect, dismantle, and redesign marks as symbols, developing a system of abstract signs through form, material, and process. This particular visual alphabet consists of offcuts, incidental strokes, and more intentional, repetitive explorations of personally significant objects. The compositions impose a kind of visual ‘dyslexia’, requiring imaginative readings beyond familiar patterning of ‘language’, and so what each mark represents may depend on interpretation. The emergent abstract designs pose questions and open dialogue around notions of framing, visibility, belonging, transition, chaos, deviance, and perception.’
EMALIE BINGHAM, Opening
Mixed media on canvas, 101.6 x 101.6 cm
Emalie Bingham trained as an artist and exhibited for ten years in South Africa before relocating to the UK in 2019. This exposed her to a widened variety of sociopolitical, psychospiritual, and design perspectives within a new environment, further shaping and expanding her creative practice.
Playfully juxtaposing, layering, and collaging marks as repeating motifs, Emalie Bingham’s mixed media work explores endless possible outcomes, and considers a re-writing of normative attitudes towards grouping, orientation, and order.
‘My work is centred around emerging and shifting patterns of transformation, connection, and possibility. Both technically and conceptually, I seek to deconstruct and subvert binary paradigms, towards an alternative narrative of fluidity, possibility, and inclusion. I create, collect, dismantle, and redesign marks as symbols, developing a system of abstract signs through form, material, and process. This particular visual alphabet consists of offcuts, incidental strokes, and more intentional, repetitive explorations of personally significant objects. The compositions impose a kind of visual “dyslexia”, requiring imaginative readings beyond familiar patterning of “language”, and so what each mark represents may depend on interpretation. The emergent abstract designs pose questions and open dialogue around notions of framing, visibility, belonging, transition, chaos, deviance, and perception.’
EMALIE BINGHAM, Resilience
Mixed media on canvas, 101.6 x 101.6 cm
EMALIE BINGHAM, The Past is a Folly, the Present is a Fire, the Future is a Mushroom I
Mixed media on canvas, 120 x 120 cm
Emalie Bingham uses pattern-making and surface design as a medium through which she interrogates societal patterns and conventions. For Bingham, drawing provides both refuge and stimulation, detachment from and an intense connection to the world around and within her. She describes it as the ultimate meditation, enabling her to both accept her limitations and use her practice to transcend them. Her paintings are striking compositions created from her hand-drawn designs which are often edgy, satirical, humorous and self-reflexive.
EMALIE BINGHAM, The Past is a Folly, the Present is a Fire, the Future is a Mushroom II
Mixed media on canvas, 120 x 120 cm
Emalie Bingham uses pattern-making and surface design as a medium through which she interrogates societal patterns and conventions. For Bingham, drawing provides both refuge and stimulation, detachment from and an intense connection to the world around and within her. She describes it as the ultimate meditation, enabling her to both accept her limitations and use her practice to transcend them. Her paintings are striking compositions created from her hand-drawn designs which are often edgy, satirical, humorous and self-reflexive.
EMALIE BINGHAM, The Past is a Folly, the Present is a Fire, the Future is a Mushroom III
Mixed media on canvas, 120 x 120 cm
Emalie Bingham uses pattern-making and surface design as a medium through which she interrogates societal patterns and conventions. For Bingham, drawing provides both refuge and stimulation, detachment from and an intense connection to the world around and within her. She describes it as the ultimate meditation, enabling her to both accept her limitations and use her practice to transcend them. Her paintings are striking compositions created from her hand-drawn designs which are often edgy, satirical, humorous and self-reflexive.
Specialists in contemporary art from South Africa. Established in 1913. South African artists are part of the global conversation. We seek to make their voices heard.