•  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
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Press Releases - Hop Gallery

Hop Gallery
Castle Ditch Lane (off Fisher Street)
Lewes, BN7 1YJ
e.mail: info@hopgallery.com website: www.hopgallery.com Tel: 07740 424949
“ORDER OF CHANGE”
Irene Marot, Christina Reading, Stephanie Kirk and Val Everitt
Saturday, May 11th to Thursday, May 23rd
Open: Tuesday to Saturday 10.30am-4pm; Sunday 11am-5pm; Closed Monday
Exhibition Celebration: Saturday, May 11th 6-8pm
The new exhibition ‘Order of Change’ at the Hop Gallery in Lewes this May brings together four artists; Irene Marot, Stephanie Kirk, Christina Reading and Val Everitt exploring, in their very different ways, particular aspects of the chaos inherent in transformation or change.

Irene Marot, already well-known as an actor, but now with painting as an important element of her practice, seeks ‘the extraordinary in the ordinary’. Her work is strongly influenced by the Downs where she lives and works and is focused on the feelings and energy experienced in the natural shapes around her.

Stephanie Kirk starts her paintings with an image from real life that has captured her imagination, whether it is a tree, a bird or a figure seen from a distance. During the process of making the work these images transform into colourful and sometimes uneasy dreamlike spaces that have their own distinctive charge.

Christina Reading’s practice traces the fragile and fragmented histories of things, of people and events. It moves across different media using found materials gathered from these histories as a starting point for further interpretations that explore the reverberations and relevance of these lost histories. It deals with the tensions and contradictions that arise from reinterpreting the past in the present.
Their paintings are complemented by Val Everitt’s sculptures, which have an elemental quality expressed through the rough, unfinished surfaces and often aggressive stands. Here change is raw and transformation takes on a physical, almost painful form.

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