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Amy Dury
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Group Exhibitions include Symposium, Kristin Hjellegjerde Gallery, West Palm Beach, USA (2025); Rogue Women, Rogue Studios Liverpool, UK (2024); Royal Academy Summer Exhibition, London, UK (2024); About Time, Swanfall Gallery, London, UK (2024); Unity, Helm Gallery, Brighton, UK (2024); New in Town, Tambaran, New York, USA (2024); Society of Scottish Artists: 130th Annual Exhibition – Commissioned piece responding to Edvard Munch (2023); Sussex Contemporary at the i360, Brighton, UK (2022); ING Discerning Eye Exhibition, Mall Galleries, London, UK (2022); Figures, Cameron Contemporary, Hove, UK (2022); Beep Contemporary, Swansea, Wales, UK (2022); Oxmarket Contemporary Open, Chichester, UK (2022); Atelier Brighton Open Call, Brighton, UK (2022); Trinity Buoy Wharf Gallery, London, UK (2022); Time & Place, Cameron Contemporary, Hove, UK (2022); A Sense of Place, Lanehouse Arts, St Leonards, UK (2021); Amy Dury & Phillip Maltman, Rise Gallery, Berwick St., London, UK (2021); Reconfiguring, The Regency Town House, Brighton, UK (2021); Council Worker, Society of Women Artists Annual Open Exhibition, Rise Gallery Soho, London, UK (2021); Winter Show, Cameron Contemporary, Hove, UK (2021); Kings Arch Gallery, Brighton, UK (2021); anon, Kings Arch Gallery, Brighton, UK (2020); Festival Exhibition, Cameron Contemporary Art, UK (2020); Winter Show, Cameron Contemporary, Hove, UK (2019); Fresh Paint, Cameron Contemporary Art, UK (2019); Summer Show, Cameron Contemporary Art, UK (2019); Brighton Open Houses May Exhibition, various venues, UK (2005-2021).
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Always, Everything
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The greens of Invitation suggest a more melancholy mood. A woman stands between two curtains, her hands lightly clutching the edges of the fabric. We do not know what lies behind the curtains, but the title here seems ironic – nothing about the woman’s wooden, upright stance or her distant expression feels inviting.Despite the retro aesthetic of these paintings, the scenes they depict are immediately recognisable and relatable: women existing within a man’s world, playing the roles that they are expected to play. They are quiet paintings rather than acts of rebellion, but Dury makes subtly visible the women’s struggle and discontent through colour and gesture. She invites us to look for – and want – more.Nance O’Neil as Judith is the most brazen. Here, a woman clutches a severed head, a sword brandished in the air ready to strike. But it is a performance, a painting of a photograph of the American actress Nance O’Neil playing the character of Judith of Bethulia. And yet, as many of Dury’s paintings suggest, there is power – and truth – in performance and role play.The Fixer depicts a scene from a girl guide camp where the girls are practicing first aid by applying bandages to one another, while in To Boldly Go two boys have set sail on a makeshift boat. Though both are innocent enough scenes, the gender roles are unmistakable: the girls as carers, the boys as adventurers.Yet, Dury’s paintings are never judgemental. They simply present us with an image, ripe with narrative potential. It’s up to us to choose the direction it takes.
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Amy Dury
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