A comment on manmade construction, Newell’s architectural webs loom tall and foreboding; frameworks backlit by fractured glow. The introduction of natural decay alludes to the progression of time as Newell’s pieces remain fixated on the placing of building work amidst nature’s ruthless surroundings. Structures are scaled up to appear vast and dominant, while often seen from low viewpoints as if sprouting from the earth like organic matter.
‘Olympic Construction Site I’ contains a tension; two towers dependant on one another in powerful grip. Chains of white connect against a heavy black backdrop; interdependent as lines and collectively severe in their presence. The second of the studies, ‘Olympic construction Site II’ gives the impression of mechanical dominance; diggers looming high in conversation with the clouds, their silhouettes a sequence of rich dark lines dividing up the animated sky.
Specialising in etching, Newell also uses a variety of other printing methods, including litho, monoprint, and collagraph. The erosion of the plate during the etching process offers a simulation of the materiality involved in her subject matter. A respected member of the Royal Society of Painter-Printmakers, Newell graduated from the State university of New York with a degree in Fine Art, having previously undertaken studies in Graphic Design at Ravensbourne College of Design and Communication. Attainting an MA in printmaking at Camberwell College of Arts in London, Newell now captivates her audience with her unique juxtaposition of manmade geometry and natural deterioration.
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