Piers Wardle

Wardle was perhaps the first British painter to experiment artistically with the ideas of Benoit Mandelbrot and other 'chaos' mathematicians, exploring in his work how 'the complexity associated with natural and organic forms can be generated, in appearance at least, by simple rules' (from Piers Wardle's catalogue for an exhibition held at the Pomeroy Purdy Gallery in April 1989).

An interest in chaos and fractals is present throughout Wardle's work as is a love of found objects especially sweet wrappers, packaging and signage.

Initially represented by Purdy Hicks, later Wardle moved to Joshua Compston's Factual Nonsense Gallery.

[1][2] He subsequently exhibited at, amongst others, the Decima Gallery and the Courtauld Institute, and for thirty years collaborated with Stephen Micalef, providing piano accompaniment to the latter's poetry.

Recent more formal activities included 'printing' concrete for Anish Kapoor,[3] fixing a Marc Quinn, analysing Caravaggio's brush work in Rome, and scanning both Tutankhamun's tomb and Paolo Veronese's Marriage at Cana, (all of which arranged by Factum Arte).