Artists: Hollow Earth Collective
Curator: Benjamin Bridges
Title: Hollow Earth Collective
Dates: 03.09.13 – 15.09.13

HELP (Hollow Earth London Painters) brings together 11 artists who have
worked with the Hollow Earth London project, a platform showcasing
emerging talent in art and film.

Matthew John Atkinson | John Brennan | Benjamin Bridges | Christina
Christova Amy Cochrane | Fin Cullum | John Kelly | Joe Leppard Michael
O’Reilly | Alex Virji Eleanor Watson

1. Matthew John Atkinson – Dwell, 60x60cm, Oil and Acrylic on Silk on Board – I paint
as it is the closest relational and creative act to being human. Lascaux caves…

2. John Brennan – This is Reality, 80x80cm, Oil on Linen – Painting for me is a
meditative process of focused concentration. It’s a way to explore my subliminal
motivations by externalising my inner world. It’s also a lot cheaper than therapy.

3. Benjamin Bridges – Base Camp, 20cm circle, Oil on Canvas over Board – Images get
lodged in my mind. Sometimes from what i have seen and sometimes scenes i have
imagined. I paint to relieve myself of them, to examine why they were important and
as a tool to piece together the fragments of ideas i have unintentional picked up.

4. Christina Christova – Lucky Strike, 24x30cm, Oil on Canvas – Painting is a dialogue
between me and the medium and is an intimate process. It is my way of expressing
a feeling, of trying to tell a story. I then leave the finished painting with a sense oftemporary detachment and pretend to be a viewer. It doesn’t always work but it is the interaction between the painting and the viewer that gives that little extra, which makes the dialogue meaningful.

5. Amy Cochrane – Purple-Patterned Plate, 15cm, Oil on Linen – I paint as it is the
easiest way for me to make a new picture, selecting the colour, the figure, the
pattern, and creating a new image, whilst still retaining a hand made quality. A
relationship with the history of painting is important for me and its use as
decoration. One can always hang a painting on a wall and most of the time the room
looks nicer.

6. Fin Cullum – “Tarn”, Tarn/Painted Tarn, OSB, Rockwool and Light. Ceremonial Tarn,
isolated, boxed for transport – Paint comprises a refinement of the experiential
surface qualities of an object without its unknowable inner mass. Paint is essential
colour without form; reified as a consistent discrete fluid without different inner
mass. Paint is paint within paint, and represents as close to a refined, mechanical,
substance of phenomenological experience as is possible. It’s presence in the young
human mind, preschool and palaeolithic, cements coloured fluid as a perceptual
base for unravelling the mystery of matter.

7. John Kelly – I Spell Avant Garde, 46x37cm, Acrylic on Jute – This painting is a
hundred years too late. The avant garde has passed on, and left behind the unskilled
craftsman. We must form the derriere garde, and guard the ass of painting. Its best
to not question why.

8. Joe Leppard – Spiked Hand and Shepherds Crook, 32×26 cm, oil and acrylic on
canvas on board – I paint because I have been doing it for ages and if I started
something new i wouldn’t be very good at it. As an abstract painter my work
examines forms and their relationship inside a composition. My approach is one of
working and reworking, adding and removing, continually searching for a dynamic
dialogue between me and the painted image.

9. Michael O’Reilly – Ay Up Treacle, 20x16cm, Acrylic and Oil on Board – The elegance
in paint is seductive, its syrupy. I also like when painting becomes a physical
struggle. Being in the studio often makes me think of this song where the lyrics go
‘All Australian boys need a shed, a place he can go, somewhere to clear his head’ I
can’t imagine not painting and not appreciating and respecting that time in the

10. Alex Virji – Reflection, 50x60cm, Acrylic, Graphite and Felt Pen on Linen – I paint
because its a way for me to make tangible the entropic decay of things. The
limitations that i can impose to truncate the overly romantic alchemy that is
sometimes associated with the practise and help me instigate the cyclical and futile
quest to try and understand the world.11. Eleanor Watson – Lounge, 25x20cm, Oil on Canvas – I paint because I find the decision making interesting; decisions of content, size, composition, colour and