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Chris McHugh

Christopher’s main area of research relates to the practice and teaching of painting, exploring the nature of form as representation, convention and expression.

His work is regularly exhibited in group and solo exhibitions and he is currently represented by St Anne’s Galleries in Lewes.

Christopher was instrumental in developing a series of exhibitions and public events exploring the uses of landscape in painting for the Otter Gallery, Chichester, including; Entrance to a Lane (2011) and The Margins of the Lane (2012).

These exhibitions included paintings from the University’s art collections by Ivon Hitchens, Peter Lanyon, Graham Sutherland, William Scott, Patrick Heron, William Gear, Paul Nash, John Piper, Edward Bawden, Norman Ackroyd and Paul Feiler and re-contextualised these works against contemporary practice in painting, incorporating responses from artists and other commentators in the form of new works, critical papers and symposium discourse.

He was also part of the staff team that coordinated the exhibition of new work and symposium that explored conceptual themes related to the Graylingwell hospital site development, Liminal (2013).

Christopher is currently a member of the Steering Committee for NAFAE (National Association for Fine Art Educators) and has contributed to the national debate their annual Symposium (paper delivered  in 2014, panel chaired in 2016).  I’m not finished, a paper discussing the continuing value of practical studio space in the study of art, was published in JVAP (the Journal of Visual Art Research, Taylor & Francis) in 2014. 

He was a founder member of Manchester Artists’ Studio Association, and Red Herring Studios artists' collective and Fabrica Gallery in Brighton and a founder member of Artonic public art collective and sat on the boards of eta (Empowering the Artist), Brighton & Hove Philharmonic Society and Micklepage Trust and has acted as a consultant to South East Arts and various artists’ organisations.

Aside from Christopher’s main output as a painter, previous work has included large-scale, temporary public art projects, such as Everybody's with Artangel Trust on the Spectacolour Board in Piccadilly Circus, London and collaborative, digital projects such as In Vivo/In Vitro by Video Virus shown around the country at venues including Cambridge Darkrooms, the Museum of Installation, London, the Ikon, Birmingham and the Arnolfini, Bristol.

To contact Christopher and find out more, please visit his staff profile page