Kingston-on-Thames School of Art, University of London Institute of Education.
Lecturing and teaching
Painting, drawing, history of art.
The work is an exploration of arithmetical sequences and geometry as a means of distributing motifs, shapes, colours. Golden Section proportions and angles, prime numbers, Fibonacci numbers and eccentric constructions are used. Subjective choices are made as to which variety or conjunction of constructive ideas, and which colours, are used to parallel the initial visual perception. One idea can produce a series of work. Interrelations within the work and to the whole aimed at achieving a calm balanced unity. So each work has a visual message only. It aims to be a visual version of “truth”; an attempt to make no false move – so colour, tone value, shape all belong together. This can be seen in the visual work of untutored young children.
Apple tree branches in mist developed into “Y” shapes which I used in various formats of prime numbers which engendered ideas of ”Birds Turning”,”River Weed” etc. Stone blocks along unfinished bypass became rhombi
delineated by internal lines; these were superimposed variously to give new forms, see e.g. “Tetrad”. From rhombi I reverted to the vertical and horizontal of the blocks; These became Fibonacci units placed variously together to make ‘”India” and other works. Then I developed 18 ways of overlapping just two smaller Fibonacci units;..e.g. “Screw”
Mondrian from 1964
1975 – Southern Arts Bursary
1976 – Arts Council Award
2000 – Millennium Fellowship
1982 – In Arts Council Index of Artists, Serpentine Gallery, London
1991 – In National Museum of Women in the Arts, Archive and Slide Index, Washington, USA
1997 – “Mathematics Teaching” Kathleen Hyndman’s Sequence Painting
1999 – Book: “The Isle of Dogs”. Financed through Millennium Award.
2003 – “My Use of Number Sequence and Geometry in Art”, ISAMA/Bridges conference proceedings, University of Granada.
2006 – ‘1982’, Ovada: Oxfordshire visual arts development agency, Oxford
2003 – De Bomen van Pythagoras, Geconstrueerde Groei, Mondriaanhuis, Amersfoort Netherlands
2000 – Mondiale Echoes, International abstract geometrical art, Mondriaanhuis, Amersfoort, Netherlands
1999 – Chronologic, The Planet Art, Cape Town, South Africa
1997 – Barriers, Aspex Gallery, Portsmouth
1997 – Spring Exhibition, Logos Gallery, London
1996 – 3 Cities Art Show, Oxford, Birmingham
1996 – Arts Etoiles. Tours-London—London-Tours. Echange Artistique Franco-Anglais; Gare deTours.
1995 – Islington Art Fair
1994 – Divers Memories, Pitt Rivers Museum Project, Oxford
1994 – Logos Gallery, London
1994 – United Abstract Artists, Mall Galleries, London
1992 – 5th International Triennale of Drawing, Wroclaw, Poland
1991 – East National Open Competition, Norwich Gallery
1990 – London Group, Royal College of Art, London
1988 – 4 Counties Exhibition, Milton Keynes
1988 – 4th International Triennale of Drawing, Wroclaw, Poland
1987 – Outsiders, Kunstler Forum, Bonn, Germany
1982 – Hayward Annual, Hayward Gallery, London
1998 – The Space, Isle of Dogs, London
1996 – Logos Gallery, London
1990 – Radcliffe Infirmary, Oxford, Organised by City Gallery Arts Trust
1990 – Solo Exhibition, organised by Winchester Gallery Touring Service/Southern Arts, Crawley, Sussex; Upton Park Heritage Centre, Poole; Winchester Gallery, Burghclere, Hampshire
1985 – Solo Exhibition on tour to: Lillie Art Gallery, Glasgow; MacLaurin Art Gallery and Rozelle House Museum, Ayr; Wolfson College, Oxford University; Templeton College, Oxford University
1977 – Wyvern Arts Centre, Swindon
1976 – Westminster College, Oxford
1998 – Work at www.axisartists.org.uk
2001 – Work at www.artists-in–the-south.co.uk
2001 – Work at www.oxfordartsociety.org.uk
"Kathleen Hyndman is convincing with her geometrical pictures. Tranquillity streams out of her pictures."
General Anzeiger, Germany
"The geometrical approach of Kathleen Hyndman... excites the senses through the sheer simplicity of line and the stark nature of a canvas which nevertheless offers considerable movement."
"It was a joy seeing your work and meeting you in Oxford."
"These paintings have a very clean and almost clinical appearance due to this mathematical construction and precise manipulation of colour."