Diana Chambers’ paintings reach towards deep inner states of being, writes Dominic Thorpe
From the outset, Diana Chambers’ practice has been dedicated to the development of a highly personal visual language. Visiting her studio and observing her process reveals insights into her artistic evolution and her rapidly expanding body of work. The table beside Chambers’ easel is stacked with acrylic paint tubs and strewn with pencils and a range of paintbrushes. It is also piled high with books and overflows with A4 and A3 printouts containing some of the array of imagery that informs her work. Several of her paintings hang on the walls around the space. Behind her chair is a square, wooden structure, waist high, tied with several horizontal lengths of string. Fresh paintings are clipped there to dry before being transferred to overflowing drawers and shelves.
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