Haricot Gallery is delighted to present ‘In Colour’ a group exhibition that features works by Manon Steyaert, Bobby Dowler, Constance Read, Sebastian Supanz and Jonathan McCree. 
 
The process of creating art is multi-faceted, it’s a delicate dance between inspiration and introspection, where the artist navigates this labyrinth of creativity. ‘In Colour’ serves to uncover one aspect of this process, their relationship with colour.



 
Jonathan’s primary focus is on evoking sensations through encounters with colour, weight, surface, texture, and space. He has an instinctual relationship with colour, seeing it as part of a visual language that allows him to express himself creatively. Growing up in a strict Christian environment, he often found himself daydreaming as an escape from what he perceived as a sterile and controlling world. He believes his colour choices stem from those day dreams, as these memories sit with him as a form of material for his artwork. 
 
Jonathan is drawn to colours that evoke a sense of space, inspired by historical interiors and artworks. He emphasises the importance of specificity in his colour selection, knowing precisely the shades needed to convey the desired sensations in his work. His longing for escape, both in childhood and now, manifests in a visual realm free from verbal constraints. Memories play a significant role in his practice, influencing colour choices and their relationships. He acknowledges that these memories might be abstract, rooted more in emotions and desires rather than specific narratives.

 


In Bobby’s exploration, the urban landscape unfolds through the lens of mundane realities such as construction sites, safety workwear, and roadworks, alongside unexpected events that complicate our perception of the city’s bustling streets. Even though these insights are merely “afterthoughts,” Bobby understands the deeper mystery underlying them and admits that he does not have all the answers. Nonetheless, he sees colour as a powerful instrument for creating new experiences and enticing him into the unknown. Colour, to Bobby, has the power to transcend time and space, acting as both an object of observation and a subject that influences perception. He relies on intuition rather than conscious intellect, preferring the act of seeing and experiencing to analysis.




Manon’s colour selection is instinctive, so after she’s decided on a couple, she builds a larger palette around them. She took inspiration for this show from the work of Sir Lawrence Alma-Tadema, particularly from his use of fabric tones. For Manon colour is one the main forces in her practice, especially when it comes to drawing in the audience. She recognises how colours can arouse interest and delight, drawing the eye and bringing life to objects and environments alike. Colour, in Manon’s opinion, unifies the painting to the sculpture and is essential to drawing viewers’ attention to the work in the gallery. Without colour, her works would cease to exist. Her concepts can transcend into concrete forms by colour, which creates a dynamic interaction between the observer and their environment.




Constance’s use of colour is very important to her practice since it gives her pieces life. The colour combinations and their relationships are essential to the works since the shapes are so bold and simplistic. Constance carefully studies her colour selections, drawing inspiration from a variety of sources, from her architechtural surroundings to interiors, nature and fashion. Finding a balance between earthy neutrals and vivid hues in her colour palette is crucial. Despite her distaste for some colours, such as purple and yellow, she recognises the value of experimenting with them. Consideration for colour comes at the exact moment she chooses the material she will work with. Then Constance gets to planning, where she creates mock-ups and mixes inks ahead of time to verify that the colours match with what she intends to create. This level of organisation and preparation is essential to her as a screen printer.




Sebastian Supanz’s relationship with colour is deeply rooted in personal nostalgia and a natural affinity for vibrant hues. His attraction to bold colours stems from childhood memories and trying to capture the innocence and beauty of his youth.  For Supanz, colour is not just an external observation but a reflection of his inner landscape, capturing the essence of the world around him, this could be the warmth of a sunset to the energy of a city’s night life. In his practice, colour serves as both a starting point and a guiding force, with each composition evolving organically as new hues are introduced. While he embraces spontaneity and remains open to unexpected outcomes, Supanz also finds comfort in revisiting familiar colour combinations and exploring subconscious decisions in his creative process.