Sharon Drew About

Sharon Drew

Sharon Drew lives and works in London and recently completed two residencies at Trinity Buoy Wharf Docklands. Central London Solo shows include The Place, Manifesto and Fitzrovia Gallery and two-person shows at Third Space Tower Bridge with Rebecca Hossack Gallery and T5 Gallery at Terminal 5, London Heathrow.

Sharon’s work has been selected for many exhibitions including the Royal Academy Summer Exhibitions and Gordon Ramsay’s restaurant London House. Her paintings have been shortlisted for several painting prizes including the Liquitex Painting Prize and her work has also been shown in Singapore and Paris.

Sharon was Art Consultant and provider of paintings for Art Is… a British musical feature film, directed by Barry Bliss and screened at Tate Modern and international film festivals.

Sharon completed her Fine Art MA at Central Saint Martins in 2003 where she is now a mentor to Fine Art MA and BA students.   Previously a tutor in Art & Design for over 20 years she has more recently been running art workshops at her studio and also the William Morris Gallery and University of East London.. Sharon’s work is in private collections in Germany and throughout the UK. 

For a more detailed CV please see Exhibitions/Events, and Media > Instagram https://www.instagram.com/drew_sharon/ for sketchbook studies and landscape influences. Also here are examples from recent adult and children’s Painting & Drawing Workshops. Sharon has an annual OPEN STUDIO event during the first two weeks of June each year and 2019 is a Waltham Forest London Borough of Culture event. Upcoming Autumn events are Solo Exhibition at the William Road Gallery & John McAslan & Partners and Residency at London Borough of Culture HQ One Hoe Street. All welcome.

 

Work Statement

At the heart of my work is the sensation of experiencing urban London landscapes, such as Trinity Buoy Wharf on the River Thames, as well as the rural coastal environments of Cornwall and Kent. Travelling from one to the other sharpens my senses and, at different times, one may have more influence than the other.  It is primarily the sensation of light, colour, rhythm and movement in the landscape I wish to create rather than evoke a sense of place. 

Colour, process and the physicality of paint are central elements in my work. When making a painting I want to find that point where I am only just in control of the paint, letting it behave in ways that may surprise and delight me.  As I work paint leaves the brush in drips and trails … a brush-mark may hold or dissolve, colours separate or blend.  I become an observer of the complex illusion of light, space and movement that evolve.  I judge a work finished when it has a life of its own that surpasses my understanding.

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