Chris Horner is a British artist who lives and works in Hampshire. He received his BA in Fine Art at the University for the Creative Arts in Surrey, UK. He also completed his MA in Fine Art at the University for the Creative Arts in Surrey in 2018.
Horner's artwork explores the relationship between artist and material where he transforms pre-used building materials into relief artworks. All of his works originate from an invented movement known as an 'Unknown working process', the key word in this description is 'unknown' as this means to not know and to animate characteristics of the unfamiliar.
When he has free time away from his studio he finds himself supporting his Father in the building trade, so many of the materials he works with come from the building site. He creates experiments by colliding pre-used building materials and art supplies together as he is interested in seeing how the two react when put through an obscure process. Are they going to complement one another or counteract against each other?
The use of pre-used building materials in his work is very important to him as he has transitioned from a builder into a contemporary artist. He knows how the building materials work in their usual context, but is keen to see how they can now be presented through a new guise. From experience of talking to people about the building world he has noticed that building materials are often overlooked and not appreciated for the importance they hold. He sets himself an objective to stimulate these materials by entering them into these experiments, as this enables them to express a new original excitement where their value becomes heightened through an art background.
Chris received the JPES Partnership prize at The London Group Open Exhibition in 2019 and was elected by The London Group Membership Committee to become a member in 2020, and his works have been collected in various private collections.
"Chris’ practice explores a relationship between artist and surface which inherits themes such as converting, transforming and materializing. This experimentation with medium and surface conveys an organic and almost tactile notion of transforming bodies. Working hand in hand with the notion of chance and error, his work revolves around the creation of elements which read as physical imprints of the body in all its vulnerability and intimacy. The body need not appear directly in order to become a constant, pervasive presence. Through these objects , Chris maps our relationship to our bodies and surroundings, the physical and mental imprints we leave behind as time edges on, materializing new forms and possibilities, new rituals for existing, changing and evolving. This obsessive means takes the form of a particular ritualistic approach to handling and deconstructing these forms, in a routine - like process which allows for an ever - changing long - term relationship with the material."
Extract taken from the essay Intimate Displacements
by Claire Mead, Art Historian and Independent Curator