Remembered and Forgotten

Untitled, Oil-based pencil & Graphite stick on A4 Cartridge paper, EC 2013
Untitled, Oil-based pencil & Graphite stick on A4 Cartridge paper, EC 2013




Keep up to date with my residency in Queens Wood here:


Untitled (LIARLIAR)

Untitled, Collage, Oil, Oil-based household paint &spray paint on cotton, EC 2012
Untitled (LIAR LIAR), Oil & Mixed media on canvas, 102 x 77 cm, by EC 2012





Edge detail



Edge Detail










Untitled, Oil, oil-based household paint, oil stick, acrylic & spray paint on cotton 123 x 92 cm’s approx, EC 2012











The Thing From Inner Space

Untitled (The Thing From Inner Space), Acrylic, Oil-based household paints, Oil & Permanent marker on Canvas, 123 x 153 cm, EC 2012



Untitled (28,11)

Untitled (28,11), Water-based/Oil-based household paints, acrylic & graphite on cotton, 150 x 150 cm’s, EC 2011





“The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift.” – Albert Einstein

Often things are lying hidden in the Unconscious. You have to leave yourself open so that these influences may surface.

We should not pretend to understand the world only by the intellect; we apprehend it just as much by feeling. Therefore, the judgment of the intellect is, at best, only the half of truth, and must, if it be honest, also come to an understanding of its inadequacy. – C.G.Jung

The ‘I Ching’ is based on the hypothesis of the Oneness of man and the surrounding cosmos. –  Jolande Jacobi, ‘Symbols in an Individual Analysis’ Man and His Symbols (Carl Jung)

My thoughts turned to the The I-Ching or Book Of Changes as I was painting this. I’ve got a copy of the translation by Richard Wilhelm with foreword by C.G.Jung.  It talks about ‘discord’ and ‘divergence’ in a particular hexagram, saying that yellow is the colour of The Mean (Philosophy of The Mean).  The Philosophy of the Mean links to the Buddhist Middle Way.  There are links between The I-ching, Buddhism and Quantum Mechanics.

“The emptiness of the atom”

The Book of Changes also speaks  about discord and divergence ‘containing the hidden possibility that tensions have already been resolved.’  It talks of ‘Astronomical opposition’ and ‘The two movements that are in direct contrast’ but that also work together.  This is relevant to this painting and to my thoughts on emotional and intellectual cognition.

‘How to both join and separate things?’

The title for this piece comes from the I-Ching itself.  It is named after two hexagrams – Nº 28, ‘Ta Kuo’ or ‘Preponderence of The Great’, which talks about extreme forces, collapse and the centre of gravity being a thick beam. The other hexagram is Nº 11, ‘T’ai’ or ‘Peace’ and refers to ‘The Receptive’ and ‘The Creative’.  Nº 11 states that The Receptive is essential to The Creative. Hexagram Nº 11 also talks of harmony. It speaks of the dividing of time and the ‘marking off of infinite space’.  We make maps in the chaos, we mark off time and the seasons and find patterns in our Universe.

This was exhibited at IMPRINT, a Fabelist Festival at The Serpentine Gallery’s Centre of Possible Studies, 21 Gloucester Place W1U 8HR



Untitled, Water based household paints, acrylic & pumice on cotton bed sheet, 183 x 153 cm’s, EC 2011




Untitled, Water based household paints, acrylic & pumice on cotton bed sheet, 183 x 153 cm’s, EC 2011




Untitled, Water based household paints, acrylic & pumice on cotton, 183 x 153 cm’s, EC 2011




It Takes Patience to Make a Disaster

It Takes Patience to Make a Disaster, Acrylic, oil, household paint, paper, collage & wood on canvas, 51 x 41 cm, By EC 2017


IMG_8524 EC 2017
Untitled, Oil and spray paint on canvas, acrylic, varnish & oil on wood and paper mounted on canvas, 20 x 20 cm, By EC 2017


Untitled, Oil, household gloss, wood varnish, acrylic, spray paint on paper and canvas mounted on stretched canvas, 40 x 40 cm, By EC 2017
Untitled, Oil, household gloss, wood varnish, acrylic, spray paint on paper and canvas mounted on stretched canvas, 40 x 40 cm, By EC 2017

Super Massive

Super Massive Brain Bomb Explosion II
Super Massive Brain Bomb Explosion II, Oil, oil-based household paint, pins, spray paint & vinyl on canvas, 40 X 40 cm, By EC 2017

PAPER #38: The Surface of Things

Press Release: Tuesday 13 June 2017


PAPER #38: The Surface of Things

An exhibition of Abstract Painting as part of the Manifest Arts Festival 2017

Lisa Denyer / Frances Disley / EC / Brendan Fletcher / Roni Feldman / Jenny Hager / Sharon Hall / Vincent Hawkins / David Leapman / Mali Morris RA / Max Presneill

Exhibition dates: 1 July – 12 August 2017
Private View & Manifest Launch: Wednesday 5 July 2017, 5-8pm @ New Adelphi Gallery
Private View: Friday 7 July 2017, 6-9pm @ PAPER

 The exhibition is a collaboration between PAPER, Manchester and Durden & Ray, Los Angeles, and is hosted by University of Salford as part of the Manifest Arts Festival, a contemporary art biennial running from the 5th – 9th July 2017.

Manifest Arts Festival will feature over 30 events, exhibitions and workshops across venues in Manchester, Salford and Bolton. Amongst others, the exhibition features former John Moores Painting Prizewinner, David Leapman; Royal Academician, Mali Morris; and Liverpool Biennial Associate Artist, Frances Disley.

The Surface Of Things

In 1911 Piet Mondrian scribbled a note in his sketchbook, ‘The surface of things gives enjoyment; their interiority gives life’.  Mondrian had yet to paint a purely abstract painting in 1911 but his absorption of the work of Cezanne, Picasso and Braque that year led him inexorably towards a pure abstraction in the years that followed.  Mondrian, and the early abstract pioneers, Delauney, Kandinsky and Malevich et al rejected mimesis and a reproduction of the surface of things and sought meaning within or beyond the world of appearances.

It’s now over 100 years later and painters continue to explore the repertoire of forms, colours and gestures that mark out the lexicon of abstraction.  They are concerned with exploring both the surface and its painterly slurries and the meaning inscribed in those marks and traces.

They might well recognize the thoughts of another Modernist; the poet Wallace Stevens.  In his 1919 poem, Of the Surface of Things, Stevens noted how we progress from a prosaic understanding of the world and its simple taxonomies and move toward a more imaginative and creative abstract vision.  The artists in The Surface of Things demand as much.

The Surface of Things showcases the work of established, mid-career and emerging artists all of whom believe passionately in the capacity of abstraction to offer a purposeful means of examining the world and our relationships, our exteriority and interiority and meaning beneath and beyond the surface of things.

Address: PAPER, Unit 12 Mirabel Studios, 14-20 Mirabel Street, Manchester, M3 1PJ



PAPER #38: The Surface of Things

Exhibition dates: 1 July – 12 August 2017
Private View & Manifest Lunch: Wednesday 5 July 2017, 5-8pm @ New Adelphi Gallery, University of Salford, The Crescent, Salford, M5 4WT
Opening Times: 9am – 4pm, Monday – Friday
Private View @ PAPER: Friday 7 July, 6-9pm

Opening Times: 11am – 5pm every Saturday
PAPER Gallery, Mirabel Studios, 14-20 Mirabel Street, Manchester, M3 1PJ


Media Enquiries

For media enquiries and images contact Mike Chavez-Dawson email


PAPER is an artist-led, commercial gallery based in Manchester and represents a range of emerging and mid-career artists whose practice is based around the medium of paper, ranging from drawing, painting, printmaking, artist’s books, video, and performance. The gallery opened in August 2012 and has a regular programme of exhibitions, presenting the work of gallery artists as well as providing a platform for outside curatorial projects. In 2013 PAPER instigated an Artist-in-Residence programme, Exploring PAPER, and in 2015 a mentoring scheme for artists based in the North-West of England, funded by Arts Council England.

Directed by artist David Hancock, working alongside Sarah Boulter, Sara Jaspan, Andrea Cotton, Simon Woolham, and Mike Chavez-Dawson; PAPER has participated in four editions of The Manchester Contemporary (UK), as well as, Art Rotterdam 2016, Art on Paper (Brussels), Art Projects at London Art Fair 2015, 2016 and 2017 (UK), Art Copenhagen 2015 and 2016, Sluice Art Fair 2013 and 2015 (London), Supermarket (Stockholm), Project Space Collective at the Affordable Art Fair 2014 (Battersea), Exchange Rates (New York), and Kolner Liste 2015 (Cologne).

About Durden & Ray

Founded in 2009, Durden and Ray is comprised of 24 artist/curators who work together to create exhibition opportunities at their downtown Los Angeles gallery as well as in concert with artist groups and gallery spaces around the world. Durden and Ray concentrates on small, tightly curated group shows at the gallery, organized by the members, and hosts international artists as part of a commitment to global exchange and alternative networks. The Durden and Ray model expressly overlaps multiple strategies, including the commercial potential and visual identity of a gallery, the democratic structure of an artist group, the potential to create collaborative works of art in the manner of a collective, and the shared fiscal support of its programmes by group members and project partners similar to a non-profit organization. Durden and Ray is committed both to individual praxis and to shared aims of curatorial experimentation, visual research, and artistic exchange with international partners.



14-20 Mirabel Street, Manchester, M3 1PJ. 


Triptransition, Oil, acrylic, varnish & collage on wood, 19 x 12 cm approx, By EC 2017


“Nothing is quite apart, not only external, not only internal; a someplace in between.”  (EC, 2014)