Chris horner

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. As an artist his main concern is the transformation and reconfiguration of pre- used building materials. He creates experiments, which elevate the value and appreciation of the pre-used building materials. They start to evolve into something unique as they take on a new guise through an art context.

Horner has exhibited nationally and internationally and has also had a number of solo exhibitions around England: Open Studio Exhibition, University for the Creative Arts, Farnham, Surrey (2016) Sculptural Painting Configurations, The Royal Marsden Hospital, Sutton, Surrey (2018) and Remnants from Ewhurst, Surrey,

The Old Diorama Arts Centre Gallery, 201 Drummond St, Regent’s Place, London (2019). Selected group exhibitions have been at The Redchurch St Gallery, The OXO Tower - Bargehouse, Lewisham Arthouse, The Melia White House, Safehouse 2, The Lethaby Gallery, The National Army Museum, The Fitzrovia Gallery,

The Cello Factory, The Shard, The Jeannie Avent Gallery and The Offshoot Gallery. Horner 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.

I operate with pre-used building materials like; cement, plaster, building sand, strong liquidizes, with art supplies; glosses, acrylics, oils, turpentine’s, etc. I create experiments, which originate from an invented movement called an "Unknown working process". This is when both pre-used building materials and art supplies are mixed together. I am interested in finding out how they might function differently when put in an obscure process. I get most excited when I start to see something happening, shapes and forms morphing into one another, as if the surface carries a sense of movement. I start to work on top of the new reconstructed surface once a collision has been made between the pre-used building materials and the art supplies. I want to acknowledge and illustrate this state of transformation.

A gap consistently appears in my work due to the alignment between intention and process becoming disabled. It is this gap, which makes the outcome more interesting, as a constant break up between intention and process forms a magical moment. I believe my Art is an expression or an application of human creative skill and imagination, which enables the viewer to experience the world differently. When making each piece I not only like to challenge myself, I like to distort the mind of the viewer where familiar associations are interrupted by themes relating to the unfamiliar.