I worked in architecture for twelve years before returning to education to study art graduating in 2002.

 

shortlisted:

 

2016 Lichfield Art Prize: Finalist

 

2012 John Moores Painting Prize Walker Gallery Liverpool

 

residency:

 

2015 Staithes Studios North Yorkshire

 

 

solo exhibitions:

 

2016 Susan Laughton The Cold Press, Holt, Norfolk

 

2015 Travelling Light Quercus Gallery, Bath

 

2011 Still Here greenroom, Manchester curated by Blank Media collective

 

2010 Measured Space Duckett and Jeffreys Gallery, Malton,

         North Yorkshire see more

 

2009 Sightlines Salford Museum & Art Gallery including curation of works

         from Salford’s permanent collection see more

 

2008 Haworth Museum & Gallery Accrington

 

group exhibitions:

 

2017 Gaze, Glimpse: Looking at landscape Gallery 57, Arundel

 

2017 Ikigai: A reason for living The Old Lock Up Gallery, Derbyshire

 

2017 A Time for Reflection The Stratford Gallery, Stratford upon Avon

 

2017 Presence Artwave West, Morecombelake, Dorset

 

2016 Opening Exhibition The Stratford Gallery, Stratford-upon-Avon

 

2016 Buy Art Fair Manchester, represented by Staithes Studios

 

2016 Open Exhibition The Old Station Gallery, Rowsley, Derbyshire

 

2016 Responses in Colour Artwave West, Morecombelake, Dorset

 

2016 Lichfield Art Prize: Finalist Lichfield Cathedral, Emporium Gallery

 

2016 A Certain Language Staithes Studios gallery, North Yorkshire

 

2015 Drawn 2015 The Royal West of England Academy, Bristol

 

2015 The Still Point Quercus Gallery, Bath

 

2014 Bristol Affordable Art Fair represented by Columbia Road Gallery

 

2014 Quercus Gallery Summer Show

 

2014 Hampstead Affordable Art Fair

 

2013 Battersea Affordable Art Fair

 

2013 New York City Affordable Art Fair

 

2013 neo:artprize exhibition neo:gallery 22, Bolton

 

2013 Hampstead Affordable Art Fair

 

2013 Palace Art Fair Fulham, London

 

2013 Bristol Affordable Art Fair

 

2012 Artlink Stockport Art Gallery, Cheshire

 

2011 Artificial Light Cupola Gallery, Sheffield

 

2011 A Different View The Barefoot Gallery, Boston Spa, Yorkshire

 

2011 No.1: Paint BLANKSPACE Gallery, Manchester

 

2011 Barnaby Festival Macclesfield

 

2011 Stockport Contemporary Open Stockport Art Gallery, Cheshire

 

2010 Palace Art Fair Fulham, London

 

2009 Art of Ideas II Arts & Business/Arts Council exhibition selected by

         Stephen Snoddy, Director of the Walsall Gallery

 

2009 Findings Valley Artists at Towneley Museum & Gallery, Burnley

 

2009 Survey Gallerytop, Rowsley, Derbyshire

 

2009 Buy Art Fair Urbis, Manchester, represented by Arts&Business

 

2008 Brighton Art Fair

 

2007 Tony Scrivener & Susan Laughton Firbob & Peacock

         Contemporary Art, Knutsford, Cheshire see more

 

2007 Brighton Art Fair

 

2007 Open Exhibition Grosvenor Museum, Chester

 

2006 Calder Gallery Hebden Bridge, Yorkshire

 

2006 Haworth Open Haworth Gallery, Accrington, Lancashire

 

2006 Landmarks III Lowood Gallery, Armathwaite, Cumbria

 

2005 Sculptural Possibilities Cupola Gallery, Sheffield

 

 

awards:

 

2006 Arts Council Grant

 

 

commissions:

 

2008 Valley of Stone: art commission and community workshop with five

         Valley Artists for Groundwork Pennine Lancashire (with Heritage

         Lottery funding) to raise awareness of the quarrying heritage of

         Rossendale.

 

 

selected:

 

Axisweb for Artists www.axisweb.org/p/susanlaughton

Visual portfolio by Arts & Business

 

 

education:

 

2002  BA (Hons) Visual Art and Design (First) University of Bolton

1987  HND Building Technology Bolton Institute

 

 

studio:

 

I was a founding member of Valley Artists in Rossendale and had a studio there for six years. I now work from The Electric Picture House in Congleton, Cheshire.

 

London Art Gallery

We are constantly blasted with visual information, to the extent we may no longer look and see. Susan’s pared down landscapes bring order, balance and control to an often chaotic visual world as she observes the distant and mundane and brings to the viewer a new ordered sense of beauty.

 

Susan’s paintings, like the landscape she is inspired by, reach their outcome after a slow, long process of give and take, adding to and taking away.

 

Stef Mitchell

Artist and Curator

 

 

The work by Susan Laughton shimmers with subdued colour, elegant and restrained but captured fleeting glimpses of landscape and structure you sometimes don’t remember seeing. The combination of craftsmanship and intelligence leaves a lasting impression.

 

Hilary Angle

Artist

www.east-riding-artists.org

 

 

It’s not often that I insist people see something up close to appreciate its beauty, but in the case of Susan Laughton’s work, I do. The iridescence of each piece, and the sense of stillness they exude, requires more than just a jpeg. Each trace line has meaning, each tiny mark a message like some kind of artist hieroglyphics. The overall effect is incredibly calm & beautiful.

 

Fiona Bailey

The White Gallery

www.thewhitegallery.blogspot.com

 

 

On looking at photographic images of Drifting I, a work that appears sparse, yet up close is richly and imperfectly textured, I am reminded of a similar experience of getting  caught up in the physical details an inch or so away from Agnes Martin's large format abstract works. However, unlike that subjectless painter's work, Drifting I holds open a space between the primacy of material, the quavering, scratched visual field and a barely-there narrative snapshot of what might be snowfields at dusk. Taking seriously that painterly dialectic between its function as emotive, symbolistic window-to-the-soul and as opaque, modernist object, this work's shadowed, white borders also lend it a 'polaroid' quality, hinting at an as-yet undeveloped, or perhaps lost, momentary vision.

 

Significantly, Laughton's titles ostensibly refer to events and objects figured in a bleak Northern landscape: drifting snow, getting lost and finding one's way, clouds, traces of journeys and storms. Yet, as attention to the physical working and reworking of her paintings reveals, these words and phrases refer as much to the process of raw materials - acrylic, gouache and plaster - dragging and 'drifting', tracing and layering right there on the canvas, as they do to any inner or outer world.

 

Becky Hunter

Writer and UK Editor of Whitehot magazine.

www.beckyhunter.co.uk

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