The Edge of Form: Christopher Jewitt

It is a practice shaped by change—shifts in material, method, and meaning. Over the past decade, his path has curved sharply, each turn marking a commitment to experimentation and reinvention.

In this new body of work, ceramics disrupt the flatness of the canvas, rising into space as sculptural elements. Once symbolic marks painted into fields of colour now break free—balancing at the canvas edge, blurring the line between painting and object.

Each piece is built in layers: airbrush, caulking gun, oil brush, oil stick, pump marker and ceramic relief. These various modes of material execution speak in tension and harmony, creating compositions that are both dense and delicate. Every decision—about orientation, weight, and form—affects the work’s internal balance.

At first, these surfaces seem unruly: fragments, gestures, and marks in constant motion. But a quieter order lies beneath. Titles hint at personal codes, half-familiar forms, and hybrid imagery that suggest a logic of their own.

Jewitt’s practice is full of dualities: playful yet precise, abstract yet symbolic, spontaneous yet controlled. What emerges is not just image or object, but something in flux—caught between worlds. These are works at a threshold: a space where boundaries blur and something new begins to take form.