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Galerie Hubert Winter is pleased to present the 4th solo exhibition of Stephen Skidmore (b. 1950 in Newcastle, lives and works in London) at the gallery. On view for the first time are the After-noon Paintings, a series created between 1999 and 2004.
In the opening minutes of Alfred Hitchcock’s 1951 film Strangers on a Train, the protagonists are shown as two separate pairs of legs, striding purposefully across streets and platforms. The story only really begins once they stop being strangers and collide, via an accidental bump of crossed feet. Picture, though, a deferral of that decisive moment – a suspension, that is, of the bodily touch that gets things going – and you’re close to the peculiarly charged atmosphere of Stephen Skidmore’s Afternoon Paintings.
Even the origin of these paintings has something of the Hitchcockian thriller about it. One after-noon, about twenty-five years ago, Skidmore sat down on a bench on a busy platform in Lon-don’s Waterloo Station, his Pentax camera…
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Press Release
Galerie Hubert Winter is pleased to present the 4th solo exhibition of Stephen Skidmore (b. 1950 in Newcastle, lives and works in London) at the gallery. On view for the first time are the After-noon Paintings, a series created between 1999 and 2004.
In the opening minutes of Alfred Hitchcock’s 1951 film Strangers on a Train, the protagonists are shown as two separate pairs of legs, striding purposefully across streets and platforms. The story only really begins once they stop being strangers and collide, via an accidental bump of crossed feet. Picture, though, a deferral of that decisive moment – a suspension, that is, of the bodily touch that gets things going – and you’re close to the peculiarly charged atmosphere of Stephen Skidmore’s Afternoon Paintings.
Even the origin of these paintings has something of the Hitchcockian thriller about it. One after-noon, about twenty-five years ago, Skidmore sat down on a bench on a busy platform in Lon-don’s Waterloo Station, his Pentax camera…



























