This catalogue was published to coincide with the artist's solo exhibition One and a Half Corners, 17 November - 11 December 2010.
The publication features an essay by Martin Herbert titled The View From Outside, in which he writes:
A perfected compositional calculus underscores Stephen Chambers’ art, a harmonising of contraries that leads to a quality of suspension. (Not for nothing, for instance, has he made drawings of falling figures, endlessly hanging in mid-air; such an image might be his crest.) It would be easy to characterise his paintings as smoothly humming machines, their mechanisms set in train by looking, their stacked dynamics perpetually whirring away, refusing resolution or closure. It would be easy to see everything within them as part of an airless world, down to the illusory conferring of significance on specific objects by painting them repeatedly. Indeed, the context of postmodernist painting from which Chambers emerged in the 1980s might set up the condition for such a reading. But painting won’t easily stay closed in that way, and these taut, systemic works can be considered to trap feeling in their folds as carefully, and unexpectedly, as do, say, the Nouveau Romans of Georges Perec and Alain Robbe-Grillet.
Stephen Chambers trained at Central St Martins and Chelsea School of Art and has held solo and group shows in galleries across the world. His work is in many public and private collections in the UK and abroad, and he was elected as a Royal Academician in 2005.