patternsthatconnect

abstract art, a systems view

System Painting Construction Archive at Lion and Lamb Gallery

with 7 comments

A detour on my way home from a day’s work brings me once again to that wonderful informal space The Lion and Lamb Gallery, in the back room of a London pub, where I get to see System Painting Construction Archive, curated by Andrew Bick.

systems lion & lamb

Pint in hand, I view works by Andrew Bick, Stuart Elliot, Robert Holyhead, Clare Kenny, Maria Lalic, Karim Noureldin, David Rhodes, Cullinan Richards, Brandon Taylor, exhibited alongside a ‘museum’ of printed matter related to British Construction and Systems Art. In the gallery notes Bick explains that the artists were invited to “place their work alongside”, rather than respond directly to the archive.

Bick’s OGV (grid GW), does directly reference a Gillian Wise image shown in one of the vitrines, and acknowledged in the ‘GW’ of the title.

systems vitrine Andrew Bick OGV (grid GW)

Its presentation, straddling the corner of the room, less directly references the Russian Tradition via Malevich’s famous Black Square. That tradition clearly also having resonance for Maria Lalic who has been working with the monochrome for some time. Here in her  Sevres Blue Landscape Painting (Le Chemin de Sevres. Corot. C1855 – 65), she reintroduces the horizon line, but it is made by the joining of two monochromes, a lower one in brown and an upper one in blue. The non-objective is simultaneously posited and negated: two monochromes entirely abstract, yet it is impossible not to make landscape associations.

Clare Kenny’s Snow Blind appears also to toy with the propositions of ‘concrete’ and ‘representational’ . I think it is collaged from photographs of windows with blinds, the abstract lines and colours occupying my attention along with blotches or painterly stains, which could be read as ‘errors’ in the printing process, or possibly photographed (‘real’) snow flakes through a window pane. I am reminded of that old notion of painting as ‘a window on the world’, this particular ‘window’ being also physically blind-like, in that the paper support is folded, creating a material object that could function as a blind, obscuring the window.

The work by Cullinan Richards also has obscured ‘subject matter’. The title Paula Radcliffe in Disappointing 4th Place is taken from a newspaper article just showing towards the bottom edge of the piece. Possibly the newspaper was used to rest the art work on whilst it was being made and, getting stuck to it, it became an integral part by the end of the production process, almost as if the article became accidental content even whilst what was being constructed was rooted in the universal ‘content’ of the geometric.

cullinanrichards clarekenny brandontaylor

Brandon Taylor’s Painting for CB is a construction with coloured wood pieces stuck to a painted grey ground on canvas that reads like a painting.  I have the impression that the composition follows a rational formula but I can’t actually work it out. I find that I am counting the pieces, checking whether they are similar in shape and size and how many times each colour is repeated.

I am in a similar mode when looking at the paintings by David Rhodes and Stuart Elliot, attempting for example to work out in what order the lines in Rhodes’ 2.5.2013 (1) were masked and painted on the raw cotton duck. It’s an impressive painting that could have been executed in three sections, and even if it wasn’t I perceive it as comprising three informal ‘panels’, each with black and off-white lines in alternating directions, resulting in an overall “N” shape. It packs a punch, yet there is softness in the lines as a result of the way the paint has gently bled through the masking tape, and a richness of colour that is hidden by the description “black and white”. Likewise with Stuart Elliot’s Untitled (73), where blackboard paint has been applied to primed canvas before being stretched and the image, in so far as there is an image, looks to have been constructed by scumbling the paint over the bars of a wooden stretcher, creating impressions of the stretcher, not only at the edges but through the centre of the canvas, in numerous directions. Again, to say it is black and white would deny the subtlety and warmth of the colours that are nearer to warm greys on ochre.

In Robert Holyhead’s Untitled (yellow), a variegated yellow ground is interrupted by two, flatly painted, white triangular shapes reading as cut-outs, accompanied by a vertical line of a different yellow, running along the right hand edge branching out at top and bottom into two triangles causing the yellow of the ground to recede, and creating a lively ambiguous space.

The two beautiful drawings by Karim Noureldin, Evo (09-11040) and Evo (07-11009), both pencil on paper, look like a geometric starting point is being empirically explored or unfolded through a series or sequence. One of them has a central mass that could be a sculptural object in a space, whereas the other has a vertical zig zag, more rhythm than object.

noureldin

My attention alternates between wall and vitrine. I read texts on or by Jeffrey Steele, Gillian Wise, Charles Biederman, Anthony Hill, Kenneth Martin etc. and, wanting to turn the pages, I have the sense of a past that is locked, only partially accessible via faded documents, memory and influence, as if the works on the wall are familiarly connected to the archive material or they can be interpreted as having evolved from a “constructive context”, some more consciously connected to the base than others, like the system formula that eludes my attempt to discern it, or like Noureldin’s drawings wending their way through various permutations, continually repeating and changing, awareness of the past leading to an informed openness to an unknown future.

System.Painting. Construction. Archive is showing at Lion and Lamb Gallery until 15 June 2013, and there’s a talk on 8 June at 5pm.

Advertisements

7 Responses

Subscribe to comments with RSS.

  1. Another superb review Andy…I especially liked the way you’ve woven in the partiality of documentation as a way of revealing and concealing the past and how this, sensitively done, can provide fresh connections and insights for the present and future.

    David Manley

    June 6, 2013 at 7:55 am

    • Thanks David. i am glad if that came over. I think you say it better than I did! I wanted to say more about the tradition(s) of abstraction and specifically the two traditions of constructivist modernism and ‘Greenbergian’ modernism. But then I though I might be overdoing it. (Also, I discover how difficult it is to access texts now on British Construction and Systems Art, perhaps easier if you are working in the context of a university? So I really wanted to leaf through them all but was prevented).

      Andy Parkinson

      June 6, 2013 at 8:30 am

  2. I love this post. I so wish I could see this show, but as that isn’t a possibility, seeing it through your eyes is the next best thing.

    jbart3916

    June 6, 2013 at 4:29 pm

    • Thank you for commenting. I am glad you like it. Seeing it once removed is better than not seeing at all. I hope I did justice to the show.

      Andy Parkinson

      June 7, 2013 at 1:03 pm

  3. Great little piece Andy. Going to see the show next week and this has served to whet the appetite.

    Dan Roach

    June 7, 2013 at 2:38 pm

  4. […] ‘System.Painting. Construction. Archive’, showing at Lion and Lamb Gallery and featuring work by Clare Kenny, has been reviewed by Andy Parkinson on his website, ‘patternsthatconnect’. Parkinson says of Kenny’s work – ‘I am reminded of that old notion of painting as ‘a window on the world’, this particular ‘window’ being also physically blind-like, in that the paper support is folded, creating a material object that could function as a blind, obscuring the window’. Read the whole piece here. […]


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: