Savannah Grieve makes large abstract-format paintings concerned with the relationship and ambiguity between analogue and digital mediums. Through intentionally exposing her artwork and imagery to the effects of digital mediums she explores the differences between its physical and material state and the intangible nature of digital files.
In a world flooded with images, she allows her artwork to drown within them (much like everyone does as a result of the proliferation of digital technology) recreating and referencing artworks from Frank Stella to the Renaissance, which she reinvents as if in a mass of digital confusion.
She makes informed art historical references within her work that critique and explore the effects of digital technology on our relationships to images, specifically images of artworks that essentially now exist in a digital state. For example, similarities can be drawn between a square shade of yellow in Josef Albers’ ‘Homage to the Square’ with a stock image of Swiss cheese, when both exist in a digital image there is little difference between the two, both yellow, both flat, both square. Digital imagery exists in a bright, flattened and intangible format, her work reflects these qualities and digital motifs but reconfigures them in a physical state.
Camberwell College of Arts: Fine Art Degree show
45-65 Peckham Road, SE58UF
Private View: 18th June 6-9pm
Exhibition Continues: 19th-20th June 10-8pm, 21st June 11-4pm
2018 Act Natural, APT Gallery, Deptford, London, U.K.
2018 Camberwell College of Arts Interim Show: BA Painting and Photography, Copeland Gallery, U.K.
2017 Spindle Shanks Collective: Dimensions Are Forever, 98 De Beauvoir Road, London, U.K.
2017 Hung Out to Dry, The Bomb Factory, London U.K.
2017 Near Abstraction, Raum Gallery, London, U.K.
2017 Unit, CGP Gallery, London, U.K.
2016 Shrine to Narcissus, The Flying Dutchman, London, U.K.
2016 End of Year, Camberwell College of Arts, London, U.K.
Fine Art BA, Camberwell College of Arts, University of the Arts London.