Fiona Curran (b.1971 Manchester) read Philosophy at the University of Manchester before studying at Manchester School of Art and the Slade School of Fine Art, she teaches at the Royal College of Art in London and works from her studio at Wysing Arts Centre in Cambridge.
Curran works with painting, textiles and site-specific installation, exploring the poetics and politics of landscape space and the impacts of screen-based technologies on our sensory engagement with the natural world. Her work draws from histories of the decorative and the impulse to bring the outside world in to the interior, as well as joining female traditions of working with abstraction using a range of media and materials.
The presence of a heightened colour palette with collaged and layered surfaces mimics the fractured, illuminated and seductive spaces of the computer screen whilst immersing the viewer in a more physical and sensory engagement with materials and space. Curran is committed to slow, often labour-intensive processes of making that mark the passage of time, slowing down and paying attention. She has a strong investment in the meaning that can be derived from engaging with processes of making and encountering the material world in all its beauty, resonance and complexity.
| 2021 | Jump Cut, Still Life, solo exhibition at Broadway Gallery, Letchworth Garden City, Hertfordshire |
| Bright Shadows Point, permanent public art commission with the Contemporary Art Society for Turing Locke at Eddington, Cambridge. | |
| 2018 | Your sweetest empire is to please, Commission for Newcastle University and the National Trust as part of the AHRC funded research project: Mapping Contemporary Art in the Heritage Experience for Gibside, Gateshead |
| 2016 | The Grass Seemed Darker than Ever, Commission for Kielder Art and Architecture, Kielder Forest, Northumberland |
| 2013 | Beach Fatigue, solo exhibition at Carslaw St*Lukes, London |
| 2012 | An accident looking for somewhere to happen, Commission for Locws International, Art Across the City, Swansea |
| A Delicious Garden, Commission for The Crafts Council and Bexleyheath Development Trust for The Yellow Wallpaper at Danson House, Bexleyheath | |
| Waiting for The Perfect View, solo exhibition at Touchstones, Rochdale Art Gallery, Greater Manchester | |
| 2010 | This time next year things are going to be different, Commission for Parabola for the Tatton Park Biennial, Tatton Park, Cheshire |
| Too Many Waterfalls, solo exhibition at Hive Gallery, Barnsley, Yorkshire | |
| Assembly, solo exhibition at Chapter Gallery, Cardiff | |
| 2009 | The world seen from inside, Commission for Vital Arts for The Royal London Hospital, Whitechapel, London |
| 2007 | Notes on camouflage, solo exhibition, Cornerhouse Projects, Manchester |
| The world is larger in summer, solo exhibition, MAC, Birmingham |
| 2021 | Continuities, Paul Hughes Fine Arts, Wiltshire |
| The Dinner Table, San Mei Gallery, London | |
| 40th Anniversary Edition Slow Install and Artists Newsletter | |
| 2020 | The Poetics of Place, UHArts, Hertfordshire |
| Dance First, Think Later, General Practice, Lincoln | |
| Enough is Definitely Enough, Oceans Apart Gallery, Salford | |
| 2019 | The Cambridge Show, Kettle’s Yard, Cambridge |
| Out of Place, Hatton Gallery, Newcastle | |
| Parade, Broadway Gallery, Letchworth Garden City | |
| Enough is Definitely Enough, General Practice, Lincoln | |
| 2018 | Resistant Materials, M100, Odense, Denmark and Sluice Exchange, Berlin |
| Everything, Assembly Point, London | |
| Paper Cuts - Kristian Day, Saatchi Gallery, London | |
| 2017 | Exeter Contemporary Open, Phoenix Gallery, Exeter |
| Creekside Open Part 2 (Selected by Alison Wilding, RA), A.P.T Gallery, London | |
| Love, Peace and Happiness, Kristian Day, London | |
| 2016 | MA/MFA/PhD Show, Slade School of Fine Art, London |
| Other, Royal College of Art, London | |
| 2015 | No Matter, New Matter, Ed.Varie, New York |
| Signal Failure (Squared), Safe House, London | |
| Promise of Palm Trees, Breese Little, London | |
| Finite Project Altered When Open, David Dale Gallery, Glasgow | |
| Mostyn Open 19, Oriel Mostyn, Llandudno | |
| 2014 | Situation, RMIT, Melbourne, Australia |
| Detail, H Projects, Bangkok, Thailand Transition Gallery, London Usher Gallery, Lincoln |
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| Interchange Junctions, Howick Place, London | |
| 2013 | Riff, Baltic39, Newcastle |
| Signal Failure, Legion TV, London | |
| Easy Does It, David Dale Gallery, Glasgow | |
| Aid and Abet, Cambridge | |
| Supercollider, Blackpool | |
| 2012 | Untitled, Miami with Carslaw St*Lukes |
| Crocodiles With A Second Skin Thrash, Over + Out Gallery, Lincoln | |
| Making Space, The Slade School of Fine Art Research Centre, London | |
| 2011 | Translate/Transcribe, Central House of Artists, Moscow, Russia. |
| We are all in this together, Bureau, Manchester | |
| Surplus To Requirements? The Slade School of Fine Art Research Centre, London | |
| London Art Fair Projects, The Florence Trust | |
| 2010 | Tatton Park Biennial, Tatton Park, Cheshire |
| Saatchi Northern Stars, The Blade Factory, A Foundation, Liverpool | |
| Guasch-Coranty International Painting Prize, Centro de Arte Tecla Sala, Barcelona. | |
| Paint, Beldam Gallery, Brunel University, London | |
| London Art Fair with Paul Stolper Gallery | |
| 2009 | Fringe MK Painting Prize, Middleton Hall, Milton Keynes |
| Pairs, Paul Stolper Gallery, London | |
| Coller-Elective, Arena Gallery, Liverpool | |
| Creekside Open Part 1 (Selected by Jenni Lomax), A.P.T Gallery, London | |
| London Art Fair with Paul Stolper Gallery | |
| 2008 | Future 50, Project Space, Leeds |
| Swap/Vaihto, Bureau, Manchester and The Cable Factory, Helsinki |