Christine Brownrigg

Artist with the neurological condition Cerebellar Ataxia

Example exhibitions
Recent

2024 Holt Festival Group
2023 Holt Festival Group

2022                     Oxmarket Contemporary, Chichester                       Group
Early
1985                     Goldsmiths University of London                              Solo
1983                     Commonwealth Institute, London                             Solo
1981                     Tennessee Technological University, USA                 Solo
1980                     John Peartree Gallery, Kingston, Jamaica                  Solo

Example art publications

State of mind; Leisure Painter and the artist, p. 47, Dec., 2025
Abstraction Using Mixed Global Transforms: Art and Aids to Art;
     Transactions Imaging/Art/Science: Image Quality, Content and Aesthetics;
     RPS, IET, RIT, University of Westminster 2019 *
Computing Art and Image Effects (2910343)
     Pub. University of London International Academy, 2009 *
The Bauhaus; Chapter 2 in: Creative Computing 1 (2910112): Volume 1:
     Pub. University of London External Programme, 2007
Image Processing in Abstract and Representational Art;
     Eurographics UK Conference, Sheffield, 1991 *
Contributed chapter in: Computers in Art, Design and Animation;
     Pub. Springer-Verlag, New York, ISBN 0387968962, 1989 *
Coloured Numbers and Repeated Memories;
     20th. Anniversary Conf. of the British Computer Society Displays Group and
     Computer Arts Society on:- The State of the Art in Computer Art and

Animation;Royal College of Art, London, 1986 *

(* with D.Brownrigg)

email: christinebrownrigg@gmail.com

About

Christine Brownrigg lives in Kent. She studied 3D at Sheffield College of Art. Her passion for painting has been realised in the last 15 years after retiring from teaching. At first she tried her hand at watercolours, then moved on to oil painting where she developed her work to show her concerns about climate change and pollution in abstracts. Recently she has become interested in technology, most specifically robots which have been used for some time in industry, but now are being developed for domestic use. Christine concentrates on the possibilities these robots may provide. There are political statements in the paintings. For instance, the ignorance of the 18th century girls on the marriage market about the source of their wealth or the flippant use of technology today.

Christine has a disability which makes leaving her home and studio difficult and this affects her representation in galleries. However, she has amassed a body of work which is unique and she is open and searching for possibilities to display her output.