{"id":662,"date":"2019-05-02T21:03:16","date_gmt":"2019-05-02T21:03:16","guid":{"rendered":"http:\/\/mieves.info\/?page_id=662"},"modified":"2026-10-17T13:33:26","modified_gmt":"2026-10-17T13:33:26","slug":"painting-overview","status":"publish","type":"page","link":"https:\/\/mieves.info\/?page_id=662","title":{"rendered":"Recent Paintings"},"content":{"rendered":"

Stain
\n<\/strong>Long Gallery, Newcastle
\n1-9 Oct 2026<\/p>\n

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Exhibition View:\u00a0 Untitled, 2026, 180×140 cm, oil on canvas.<\/p>\n

\u2018The moment we abandon this dilettante attitude toward the images of folklore and myth and begin to feel certain about their proper interpretation (as professional comprehenders, handling the tool of an infallible method), we deprive ourselves of the quickening contact, the demonic and inspiring assault that is the effect of their intrinsic virtue.<\/p>\n

We forfeit our proper humility and open-mindedness before the unknown, and refuse to be instructed-refuse to be shown what has never yet quite been told either to us or to anybody else. And we attempt, instead, to classify the contents of the dark message under heads and categories already known. This prevents the emergence of any new meaning or fresh understanding.\u2019<\/p>\n

HEINRICH ZIMMER, THE KING AND THE CORPSE<\/p>\n

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PainterWriter<\/strong><\/h3>\n

Oceans Apart, Manchester.
\n12\/09\/26- 3\/10\/26<\/p>\n

curated by Andrew Bracey and\u00a0Jenny Eden<\/p>\n

PainterWriter is a group painting exhibition that investigates how painters\u2019 own practices influence the forms, concerns and tropes that appear in their writing. It is a two-fold exhibition, presenting paintings by twenty-one painter-writers alongside an example of their writing made across and within the production of paintings.<\/p>\n

Although painting has long been interpreted by art historians, theorists, critics and art writers, what we call the \u2018painter\u2011writer\u2019\u2013 the painter who writes \u2013 is a central yet critically overlooked figure. Their co\u2011extensive writing\u2011with\u2011making materially reshapes painting\u2019s meanings and values from \u2018inside practice\u2019.<\/p>\n

By analysing this field, PainterWriter seeks to reveal the distinctive insights painters bring to writing and to highlight a significant but under\u2011acknowledged area within painting discourse.<\/p>\n

Andrew Bracey
\nGraham Crowley
\nKaren David
\nJenny Eden
\nCatherine Ferguson
\nRebecca Fortnum
\nMelissa Gordon
\nAbi Hampsey
\nJo McGonigal
\nDougal McKenzie
\nChristian Mieves
\nDavid Osbaldeston
\nTom Palin
\nKatie Pratt
\nAssunta Ruocco
\nDavid Ryan
\nGeorge Shaw
\nDaniel Sturgis
\nChester Tenneson
\nAlun Williams
\nLaura Wormell<\/p>\n

\u00a0Curated by Andrew Bracey & Jenny Eden<\/p>\n

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Christian Mieves, Unauff\u00e4llige L\u00f6cher [Inconspicuous holes], 2026, oil on canvas, 61 x 50 cm<\/p>\n

Photographs:\u00a0Carsten Costard<\/p>\n

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Exhibition View,\u00a0PainterWriter,\u00a0<\/strong>Oceans Apart, Manchester (2026).<\/p>\n

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\u00dcberall ist Mitte (2026)<\/h2>\n

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Exhibition View:\u00a0\u00dcberall ist Mitte\u00a07.06.-26.07.2026 , Museum Schlosspark, Bad Kreuznach.\u00a0Museum Schlosspark,\u00a0\u00a0Bad Kreuznach, Germany\u00a0Photographs:\u00a0Carsten Costard<\/p>\n

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Christian Mieves,\u00a0Rauchwolke, 2026,\u00a0<\/b>\u00d6l auf Leinwand, 195 x 130 cm<\/p>\n

<\/i>The exhibition Everywhere is Centre (<\/i>7 June\u201326 July 2026) <\/b>aims to explore the evolving language of painting through notions of absence, distance and the legibility of perception. In an age characterised by immediacy and immersive experiences, Christian Mieves seeks, in his works \u2013 some of which are large-scale \u2013 to question what it means \u2013 both physically and conceptually \u2013 to renegotiate our relationship with the visible world and to engage with alternative forms of understanding.<\/p>\n

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Exhibition View:\u00a0\u00dcberall ist Mitte\u00a07.06.-26.07.2026 , Museum Schlosspark, Bad Kreuznach.\u00a0Museum Schlosspark,\u00a0\u00a0Bad Kreuznach, Germany\u00a0Photographs:\u00a0Carsten Costard<\/p>\n

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Meshwork<\/em>, 2026<\/h2>\n

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Christian Mieves, Meshwork<\/em>, 2026, Gloss Paint on Tarpaulin , each \u00a0400\u00a0x 300 cm, Photograph: Sebastian Heck<\/p>\n

Meshwork 2026<\/i><\/strong><\/h3>\n

Outdoor installation at 5 paintings (4 x 3 meter each). The installation is within Kaiserthermen, Trier (Germany) one of the largest Roman baths north of the Alps and\u00a0UNESCO World Heritage Site. The installation if part of the Rheinland-Pfalz Triennale, 2026, a selection of 53 artists represented in the Triennale.<\/p>\n

At the heart of the work lies the interplay between spontaneous gesture and enduring form. The bodies depicted are deliberately deconstructed and dissolved in an expressive visual language, so that they elude unambiguous interpretation. This opacity challenges the notion of a \u2018transparent\u2019 image and calls for a re-evaluation of the assumption that images must be fully comprehensible. Rather, the works open up spaces for ambiguity and interpretation.<\/p>\n

Another central point of reference is the Roman understanding of the body as a composition of individual, partly interchangeable parts. The \u2018aesthetics of the limbs\u2019 is reflected in the artistic practice through the isolation and reassembly of body fragments.<\/p>\n

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Exhibition View Christian Mieves,Apollo, \u00a0Meshwork<\/em>, 2026, Gloss Paint on Tarpaulin , each \u00a0400\u00a0x 300 cm.<\/p>\n

Photographs:\u00a0Sebastian Heck<\/p>\n

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Wolkenh\u00f6hen<\/em>, 2025<\/h2>\n

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Christian Mieves, Wolkenh\u00f6hen<\/em>, 2025, Oil on canvas, 250 x 210 cm, Photograph:\u00a0Axel Wierdemann<\/p>\n

The Moon gives us light enough<\/i><\/strong><\/h2>\n

The figure of Saint Anthony, the hermit who lives outside society and wrestles with visions and temptations in the solitude of the desert, serves as a starting point for this endeavour. Beyond religious connotations, painting is reinterpreted as a meditation on absence and withdrawal within a contemporary context in which the demand for constant presence and immediate legibility often dominates our relationship with images. Here, painting, abstraction and distance become a productive position \u2013 an opportunity to question what is seen, how it is seen, and what remains deliberately illegible.<\/p>\n

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Exhibition View\u00a0The moon gives us light enough\u00a0<\/strong><\/em>\u00a0M54, Basel, Switzerland, Jan- Feb 2026<\/p>\n

\"\"\"\"Photographs:\u00a0Axel Wierdemann<\/p>\n

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\"\"Photograph: Colin Davison\u00a0<\/p>\n

Study For a Painting (Exhibition)<\/strong>
\nHatton Gallery (Group Exhibition)
\n26 June-26 July 2025<\/p>\n

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\"\"Photograph: Colin Davison\u00a0<\/p>\n

Study For a Painting (Exhibition)<\/strong>
\nHatton Gallery (Group Exhibition)
\n26 June-26 July 2025<\/p>\n

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\"\"Foto: Ludwig Kupfer\u00a0
\n\u201eSCHWELLEN \/ THRESHOLD\u201c.<\/strong>
\nKLAGG – Kleines Atelier Gro\u00dfer Garten, Dresden, Germany.
\n20.06. – 03.07.2025
\nMore info:<\/a><\/p>\n

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