‘The Edge of Chaos’ a solo show of paintings and 3D objects by Ilsa Brittain at Cicek Gallery, London
‘The edge of chaos’ is a term that was first coined by an American chaos theory physicist Norman Packard in 1988, and then more widely adopted to refer to the sweet spot between rigid predictability and random chaos, where creativity and complex possibilities emerge.
We live in a world of complex systems – emotional, economic, political, cultural, climatic etc. Ilsa Brittain’s works make visible the pulls and pushes and tangle of possibilities we navigate, and the aliveness and connectedness of our experiences.
Using acrylics and mediums, the works are slowly built in microscopic detail, using multiple layers of opaque mark making held in transparent films, creating depth, complexity, and tangible forms that feel suspended below a glass like reflective surface. Moving from the realm of 2D illusions that are mentally consumed, Ilsa’s practice has pushed into the 3D realm where objects exist in space and ideas and actual form meet.
Throughout the works the details pull the viewer in to consider small moments or pan out to consider the wider reality. There is no finite boundary between any point of view, a continuous connection exists between all the parts, nothing is in isolation or absolute separation, everything is connected.
Ilsa Brittain is a London-based contemporary artist whose practice is the culmination of decades of journeying, researching and experimentation. An unusual career took her from living on a boat in the Mediterranean to working with Aid organisation in Kathmandu to the fast-paced city lanes of New York where she undertook a Master’s in Fine Art in her late 40s.
Moving back to London Ilsa carried out an extended period of exploration and development, seeking to find expression for ideas about complex, interconnected systems, where multiple points of view could be visualised in the same space.
Using the convoluted folds of cloth as her motif, Ilsa developed her own process of laying down over thirty transparent layers to build an extremely tangible illusion of form that feels suspended beneath a glass like lens. Imaginary textile landscapes seem animated and emotionally charged.
Alongside these pieces, and to offer a different perspective on similar ideas, Ilsa has developed a series of pure mark-making pieces that simultaneously feel like views through a microscope or a telescope, displaying possible biological or geological processes. Throughout the work Ilsa is making visible the continuous connection between all things.
Ilsa regularly shows in London and many of the works are in private collections.
All rights to the images belong to the artist. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of PAI32 Platform.
