Chapman’s paintings view the human face and body as a self contained landscape. Closely cropped, focusing on skin, hair, facial hair and accessories; signifiers of an ever evolving gender presentation. Throughout this series of works the recurring motif of tennis references the set of rules that regulate our behavioural patterns within public space.
Chapman (b. 1993, London) lives and works in Glasgow. They studied Painting and Printmaking at The Glasgow School of Art (2015) with an exchange to L’École National Supérieure des Beaux-Arts, Paris. Recently they were included in A Queer Anthology of Wilderness, published by Pilot Press and accompanying exhibition A Horizon is not Straight, Tenderbooks, London (2020); and Queer timɘs school prints, Gallery of Modern Art, Glasgow (2018). Upcoming solo projects include Love Game, Windsor Terrace, Glasgow (2021); Meadow Mill, Dundee (2022); Quench gallery, Margate (2022); and Glasgow Project Rooms, Glasgow (2022).
Faught is interested in the social, personal, and political functions of craft and traditional methods of making. His practice is informed by the long history of artists and practitioners who have claimed weaving and textiles as a platform on which to address previously marginalised histories of process and community.
Josh Faught (b. 1979, St. Louis) lives and works in San Francisco. Recent solo exhibitions include Both Things are True, Koppe Astner, Glasgow (2019); Mr Kramer’s Dream House, Casa Loewe, London (2019); Sanctuary, St Mark’s Cathedral, commissioned by Western Bridge, Seattle (2017). Recent solo museum exhibitions include site-specifc installation at the Neptune Society Columbarium a part of the SFMoMA SECA Art Award Exhibition (2013); the Contemporary Art Museum St Louis (2013); and the Seattle Art Museum in conjunction with the Betty Bowen Award (2009). Faught has an upcoming solo exhibition at the Wattis Institute in San Francisco.