Southard Reid have published a catalogue in accompaniment to the show, with a text by Mary Rinebold.
The Chat Randoms transmute as deeply personal experiences in their realisation however, despite the distancing of anonymity, screens and the knowledge of physical remove.
They are in turns touching and flagrantly matter of fact.
Her ongoing series of nudes of known sitters are those she has invited to pose.
Their bold immediacy of painting is activated by the intimacy inherent in the charged act of capturing the scenario explicitly exposed to her, and doing so within the live timeframe of their sitting.
Similarly Hempton’s recent wall painting installations on which she has hung groups of canvases, for example the recent work at the Gwangju Biennale, operate as abstractions, made quickly, in response to the architectural surroundings of their situation and an extension of her palette outside the framework of the canvases.
Hempton has described the act of looking for models on Chat Random as having a sense of wilderness about it and acknowledges a differing tone from the intimacy of painting those known to her.
Visible inside a small window on the computer screen, only identified by their location and sometimes a username, Hempton meets strangers – all encountered have been male – online and asks them to model for her whilst continuing the chat connection.
Chatrandom.com, like its alternative chatroulette.com, began with a utopian incentive to provide a global platform for human interaction and has largely evolved into a site used for sexual encounter or exposure.
is the first showing of a large-scale group, encompassing nearly forty works, of ‘Chat Random’ paintings.
Hempton has been making the Chat Random series of portraits over the past eighteen months painted ‘live’ whilst using the website chatrandom.com, a social networking platform facilitating video chat randomly with other users of the site.