Untitled (china clay pit, St Austell), 1990
Oil paint, canvas
Original size: 30 x 40 in (h x w)
Photographer: Alec Shepley
The subject matter in Alec Shepley's work inhabits temporary zones of production - 'behind the scene' as it were. Various explorations of the incomplete, together with attempts to perform the behaviours associated with the unfinished work involves reflecting on the fragment and occupying the nomadic studio as a means of creating audience encounters through 'the sketch'. The studio without walls or ruin in reverse is one by-product of this process. The practice of suspending the work in an unresolved state is explored by Nick Temple in his 2013 essay ‘Unfinished Narrative’, where he examined how Shepley's practice relates uneasily to the contemporary pre-occupation with art-works as products, readily consumed objects and whose material and sensual qualities are reduced to surface effect and how this underlines the creative potential of the fragment to restore our embodied relationship to the world.
Shepley’s recent exhibitions include: INSERT2014: New Models for Common Ground, Mati Ghar, Indira Ghandi National Centre for the Arts, New Delhi. 2014; Overtime, Wellington Park House, Leeds, 2014; Library Library, 70 Arthur Street, Winnipeg, Canada, 2013; By-Product Exchange Society (solo), Sam Scorer Gallery, Lincoln, 2013; and Entropic Union, Galeria Legnica, Poland, 2013.
Recent papers presented at conferences include: 9th International Conference on the Arts in Society, Sapienza University of Rome, 2014; Royal Society of the Arts East Midlands Annual Conference, Phoenix Centre, Leicester, 2013; 8th Annual Conference of the Arts in Society, Budapest, 2013; and 7 Conference, Bergen Academy of Art & Design, Norway, 2013.