Ruth Chambers’ (b. 1983) practice explores the representation of the body in art history and popular media.
Her work encompasses print, collage, drawing and sculpture, and she works predominantly with and on paper. Recent work has explored the body in historical, pre-internet printed matter. Responding to found images of pin-ups and bodybuilders through collage and monoprint has provided a lens through which to reflect on our current digital culture, and ideas and pressures surrounding the body and gender.
This body of work involves making monoprinted interventions onto pages from 1980s bodybuilding manual, encountered by chance. She applies acrylic gouache intuitively in response to the image, folding the paper to print symmetrical forms. This fast, relatively imprecise gesture allows her to disrupt the image’s original narrative and pedagogical purpose, creating humour, playfulness and empathy, a connection with the materiality of the pages.
Chambers studied Art History at Universities of Oxford (MA, 2007) and Durham (BA, 2006) and a Fine Art Foundation Diploma at University of Gloucestershire (2003).
Notable group exhibitions include The Discerning Eye (2025, 2018), Kentler International Drawing Space (2025) and Trinity Buoy Wharf Drawing Prize (2024, 2018, 2011).
Her work is held in private collections internationally.
Ruth Chambers’ (b. 1983) practice explores the representation of the body in art history and popular media.
Her work encompasses print, collage, drawing and sculpture, and she works predominantly with and on paper. Recent work has explored the body in historical, pre-internet printed matter. Responding to found images of pin-ups and bodybuilders through collage and monoprint has provided a lens through which to reflect on our current digital culture, and ideas and pressures surrounding the body and gender.
This body of work involves making monoprinted interventions onto pages from 1980s bodybuilding manual, encountered by chance. She applies acrylic gouache intuitively in response to the image, folding the paper to print symmetrical forms. This fast, relatively imprecise gesture allows her to disrupt the image’s original narrative and pedagogical purpose, creating humour, playfulness and empathy, a connection with the materiality of the pages.
Chambers studied Art History at Universities of Oxford (MA, 2007) and Durham (BA, 2006) and a Fine Art Foundation Diploma at University of Gloucestershire (2003).
Notable group exhibitions include The Discerning Eye (2025, 2018), Kentler International Drawing Space (2025) and Trinity Buoy Wharf Drawing Prize (2024, 2018, 2011).
Her work is held in private collections internationally.
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