Inspired by the notion of the Surreal House and the Uncanny, Chloe Ashley presents a photographic investigation of No. 4 Broad Street, examining the interior space of the building and its link to the Surreal.
Drawn to the decaying interiors of the house, which visibly evokes the jarring, Ashley seeks to emphasize the bizarre nature of the space and its object’s, creating an installation within the gallery itself. A series of chemical and physically distorted hand processed photographic works will be presented, alongside film and everyday objects, responding to the interior of No. 4 Broad Street. Ashley has become interested with the deformation of the domestic within the house, particularly within the everyday objects. These objects have become incredibly distorted having lost their ability to function, taking on new forms and relationships. A toilet cistern overflows with insulation, a light bulb lies within a sink. A pink pipe emerges from the wall only to be taped over. It occasionally gurgles. The everyday objects have become unfamiliar due to the regression of the homely towards the absurd, creating a Surreal and Uncanny atmosphere within the space.
This solo exhibition marks the culmination of Chloe's 6 month graduate residency with AirSpace Gallery. Over the residency course, Chloe has received free studio space, monthly mentoring meetings with gallery staff and professional artists, access to the Gallery's professional development opportunities, and the all important final solo show. To help with the resolution of this show, Chloe has worked with artist Emily Speed
Situated within the West Midlands, Chloe Ashley is a fine art practitioner specialising within archaic and alternative photographic techniques. Her interests revolve around the notion of the uncanny within the domestic, which is investigated through photographic distortion to discover the jarring from the mundane. In pursuing distortion through photography, a vast range of alternative processes have featured within the practice, though her current focus on sculptural manipulation of the print has become increasingly present within the work.