patternsthatconnect

abstract art, a systems view

Archive for July 2013

Lion and Lamb Gallery Summer Saloon Show

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Getting to the Lion and Lamb Summer Saloon Show early on opening night I bump into artist Enzo Marra. We take some snaps and chat about the work on view. Forty three painters are represented:

Phillip Allen, Kiera Bennett, Simon Bill, Juan Bolivar, Claudia Böse, John Bunker, Jane Bustin, Stephen Chambers, John ChilverDan Coombs, Ashley Davies, Benjamin Deakin, Hayley Field, Mick Finch, Kirsten Glass, Andrew Graves, Hanz Hancock, Dan HaysMark Jones, David Leeson, Caroline List, Declan McMullan, Patrick Morrisey, Alex Gene Morrison, Darren Murray, Joe Packer, Andy Parkinson, Dan Perfect, Daniel Pettitt, Clare Price, Fiona Rae, Andrew Seto, Francesca Simon, Lucy Stein, Michael Stubbs, Emma TalbotDolly Thompsett, Michelle Ussher, Jacqueline Utley, Covadonga Valdes, Caroline Walker, Freyja Wright, Mark Wright.

Many of them are well known, and many are artists previously not shown.

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Fiona Rae’s Party Time is Coming takes central position, with its black fluffy figures and colourful cartoon swishes and stars, on a lilac ground topped with a pink pool of paint running over into carefully controlled drips.

Fiona Rae, Party Time Is Coming

My snap of Fiona Rae, Party Time Is Coming

As well as the demoniacal teddy there are black ‘non-figures’ dancing in an ambiguous space that has hints of a floor but then could just as well be outer space. The paintings is both frivolous and slightly menacing, party time is coming but that’s not necessarily a good thing, almost like the invitation to party is being called by mischievous gremlins from Joe Dante’s 1984 comic horror film.

Above Party Time Is Coming, on the right, is Emma Talbot’s Matins Vespers, a “before and after” painting, in two halves separated horizontally, morning  and night, a female cartoon-like figure in a kitchen making a drink of tea or coffee of hot chocolate, the action of the intervening day being hinted in the ‘after’ state. There’s anticipation and regret simultaneously evoked on a representation of a black and white gridded decorative tile, another kitchen theme. Katrina Blannin suggests to me that the black and white grid is “in conversation” with my own painting Cover, to the left of the Rae, a grid or chequer board of lozenge shapes in black and white, obscuring a multi-coloured surface underneath, but not so much obscured that you can’t tell it’s there. The underneath is incorporated into the covering top layer.  And layering seems to be a theme in many of the paintings here. Enzo brings my attention to the layering and the grid armature in Mark Jones’ painting Baby Doll, commenting on how the armature becomes incorporated into the content, another layer of meaning if you will.

My snap of Mark Jones, Baby Doll, oil on canvas

My snap of Mark Jones, Baby Doll, oil on canvas

It’s Mark Jones who points out to me the layering in Daniel Pettit’s Lovely Slang, above and left of the Fiona Rae, a green ground supporting a minimum of events,  and then there’s Sacrifice by Jane Bustin, a beautiful surface created by tiny oil paint brush strokes over a muslin support, leaving half of the muslin unpainted and see-through. Joe Packer’s Superstrake also employs purposive layering, more in perception than materially perhaps, in that it’s trees and landscape that is evoked as if I’m looking through layers of foliage, or undergrowth, and not quite getting out into the clearing, and yet knowing all the time that its paint and maybe “only paint”. Packer says he wants a “suggestion of a looking through trees or a forest, but not in a literal or descriptive way, so that the brushstrokes are still not trying to be anything other than themselves”.

Joe Packer, Superstrake, 2013, oil on canvas, 30cm x 25cm, image by courtesy of the artist

Joe Packer, Superstrake, 2013, oil on canvas, 30cm x 25cm, image by courtesy of the artist

Oasis by Juan Bolivar, is a delightful painting of a painting, or more accurately a naturalistic painting of a postcard of an abstract painting, with full trompe-l’oeil effect. As such it is paradoxical, akin to the liar paradox (Epimenides the Cretan saying “all Cretans are liars”)  it is abstract by being figurative and figurative by being abstract. The content being a Damien Hirst spot painting, it could be said to be ironical about the ironic. It also seems possible that this array of dots is not a Hirst painting at all, simply an array of dots. in relation to a Hirst then it could be a simulacra, a copy without an original.

My photo of Juan Bolivar, Oasis, 2012, acrylic on canvas

My photo of Juan Bolivar, Oasis, 2012, acrylic on canvas

In interpreting it I am tempted to use that famous Zen formulation where all four statements comprise a truth: “it is abstract” “it is not abstract” “it is both abstract and non abstract” “it is neither abstract nor non abstract”. This painting also settles the question for me about whether a painting of a painting could ever be better than the original. This one in my view is better than the ‘original’. Better in that the use of appropriation is more layered therefore more interesting, as well as in its virtuoso painting technique: a hand painted miniature (Enzo Marra: “how did he get the spots flat?”). I like that, for me, it connects to philosophy (and not only Braudrillard’s Simulacra and Simulation) and to the tradition of paintings of paintings that goes back way further than postmodernism, into the middle ages, as recently highlighted in Alexander Nagel’s wonderful 2012 book Medieval Modern, Art Out of Time, yet its also a beautiful painting to look at, with all that spatial layering that I am finding so fascinating.

There are other paintings too that I think of as ‘virtuoso’, like Stephen Chambers’ Man with Twig, which reminds me of a Persian miniature, Hayley Field’s Mean Machine, an obscured Sunflower, Dan Hayes’ Interstate, comprising a marix of precisely constructed coloured dots, that coheres into a highway only from a distance (and I sense that I can’t get back quite far enough). Also there’s Francesca Simon’s Below Ground 10, a dark painting that may be a grave stone or simply a square in an illusionistic space, Cavadonga Valdes’ untitled painting of a house and trees in a reflected in a puddle, the theatrical scene by Michelle Ussher: Holding the Head, Freyja Wright’s photographic Journey Between Homes and Caroline Walker’s picture of a swimming pool being cleared of leaves: Skimmed.

Then there are other very precise paintings that are strictly abstract, like the systems inspired paintings of Patrick Morrisey, Francesca Simon and Hanz Hancock along with others that address the tradition of abstraction, like Kiera Bennet’s Painting recalling early modernism. Keep It All, by Claudia Bose is a charming painting of indefinite window-like shapes over a green ground allowing a partial view of something beyond the ‘windows’, layers again, like in Sleep by Clare Price, where a pink and blue roughly painted layer of semi transparent colour all but erases a series of near geometric figures or patterns. Andrew Graves’ daring Untitled painting is orange on orange, a piece of orange painted canvas stuck onto a canvas painted with an orange ground ( I remember it as orange but the photo may be correct in showing it as nearer to red).

Top left: Claudia Bose, "Keep it all", Bottom left: John Bunker "Charline" Right: Andrew Graves: "Untitled"

Top left: Claudia Bose, “Keep it all”, Bottom left: John Bunker “Charline” Right: Andrew Graves: “Untitled”

John Bunker’s collage Charline, includes elements that are reminiscent of Russian Constructivism along with more irregular shapes that I read as somehow more irrational, though I doubt the rationale of that reading. Just above the centre a mirror-like shiny aluminium foil (?) square brings the external world into the picture frame. I suspect Ad Reinhardt would have disapproved.

I have long admired paintings I have seen only in reproduction or online by Andrew Seto, Alex Gene Morrison, Dan Coombs, Dan Perfect and Phillip Allen, and their work here is distinctive.  Seto’s painterly object(s) in Device, could be sculptures in an unspecified space, marked out only by the horizon line and a sense of ‘floor’, whereas Morrison’s image has more the feel of a poster, but more painterly than that, with diagonal green strokes to the bottom right opening up a receding space against the darker green ground. The Dan Coombs painting could be two stretched out figures, male heads on female bodies, throwing snowballs at each other in the fiery heat of a tropical landscape, the heads, each a mirror image of the other, look dot matrix printed and stuck on, they may even be famous but if they are I am not recognising them. I think the snowballs are drawing-pins stuck into the canvas. It’s anarchic and wonderful. So is Dan Perfect’s Operator, a maximal space, crammed with events that almost seem to make sense figuratively, whilst constantly thwarting figural interpretation. The celebration of image and paint in high colour seems to induce a state that alternates between euphoria and mania. There’s celebration of paint too in the painting by Phillip Allen. I am impressed by the variety of handling, combining flatly painted areas in the centre with thick encrusted layers lining the top and bottom, creating a space that resembles a theatre of competing patterns.

My photo of the Phillip Allen painting (no description details)

My photo of the Phillip Allen painting (no description details)

A theatre of competing patterns might also be a description of the summer saloon show. One of the things I like about the Lion and Lamb Gallery is this continued bringing together of different painters, creating a rich dialogue about what contemporary painting is and might become.

The show continues until September 1st.

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Summer Saloon!

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Cover (new painting)

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Andy Parkinson, Cover, 2013, mixed media on wood panel, 14" x 14"

Andy Parkinson, Cover, 2013, mixed media on wood panel, 14″ x 14″

Written by Andy Parkinson

July 15, 2013 at 6:23 am

Paintings by Susan Disley at HMS

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My ongoing quest to see abstract paintings north of London brings me today to Harrington Mill Studios in Long Eaton, where there are paintings by Susan Disley. There are also works by Rosie Kearton: photograms, etchings, collagraphs, related to walking in the landscape, very enjoyable, just that it’s the painting I have specifically come here to see.

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Like Kearton’s prints, Disley’s paintings are related to landscape, abstract landscapes perhaps, some more clearly connected to their starting point than others. It’s the ones that are the most ‘abstracted’ that interest me the most, pared down to almost no-thing, as if in a search for ultimate form.

Susan Disley is better known for her ceramics, and even if I had not known this I think I would still find something vessel-like in the forms she arrives at. Mr Blue Sky, shown in the installation shot above, has just three parts, a widened out, light blue “U” shape at bottom that is virtually impossible not to perceive as sea, but could also be read as a cup or similar container, cradling an earth-space that takes up most of the one meter square canvas, and a dark blue line at top that is probably the blue sky of the title. However, this blue strip is darker and heavier than sky. I find it slightly disconcerting.  Surely, in the normal scheme of things, light is up whereas dark/heavy is down. Here it is the other way around. The hint of threat contained in this inversion seems to create an element of seriousness without quite becoming angst. It’s abstract impressionism this, rather than expressionism (acknowledgements to Zak Braiterman for a novel application of this distinction). For the most part it is warmth and joy that the painting communicates, something like that feeling of well-being that comes over me on a hot sunny day. The central part of the painting, a muted earth colour, seems to reflect not just light but warmth back at the viewer.

Where the earth and light blue areas meet they form an indecisive edge, as if we can’t be sure where one ends and the other begins. In nature, boundary lines are fuzzy, but we go ahead and assign them anyway. According to George Lackoff and Mark Johnson, “When things are not clearly discrete or bounded, we still categorize them as such, e.g. mountains, street corners,hedges etc. Such ways of viewing physical phenomena are needed to satisfy certain purposes that we have: locating mountains, meeting on street corners,trimming hedges. Human purposes typically require us to impose artificial boundaries that make physical phenomena discrete…”

Susan Disley, Enclosure I, Enclosure II, oil on board, each is 35cm x 35 cm. Image by courtesy of the artist and HMS

Susan Disley, Enclosure I, Enclosure II, oil on board, each is 35cm x 35 cm. Image by courtesy of the artist and HMS

The boundaries in Enclosure I and Enclosure II, are more distinct than in Mr Blue Sky, the paintings appearing to be about the very act of demarcation. Contemplating these abstract images I am impressed by the beauty of the resultant forms and at the same time reminded of the political implications of land enclosure. Imposing artificial boundaries helps us to understand the world around us, and is also a means of exercising power. The birds eye view emphasises this for me, picture making here becoming similar to map making, again a means both of understanding and control.

Sue Disley, Landscape in Pink, 2013, oil on board, 1m x1m, image by courtesy of the artist and HMS

Sue Disley, Landscape in Pink, 2013, oil on board, 1m x1m, image by courtesy of the artist and HMS

We’re back to fuzzy boundaries in Landscape in Pink, and the interpretive cues are almost so generalised as to lose the landscape association, except that it is virtually impossible to lose, as if we carry it with us in our bodies. Even if there was no intentional link to landscape we would probably find ourselves making the connection anyway. We refer to the very orientation of the support as either “portrait” or “landscape”, hence artists such as Kazimir Malevich and Ad Reinhardt favoured the square format, incidentally Disley’s favoured format also, as if unconsciously she wanted to make the viewing of them as landscapes problematic.

As in Mr Blue Sky there are three areas: an “above”, a “below” and a large expanse between them, this time in warm pink, with other colours pushing through a scumbled light ground. Almost the opposite of the other painting: there’s a heavy dark grey below and light blue above, but if they relate to sea and sky or earth and sky I find it fairly difficult to read that way. More than anything else I think it’s a painting of space. It reminds me of a habit I like to indulge in of gazing into the mid distance. Someone usually asks what I’m staring at and I try to mark out the area of space in three dimensions with my hands: “that’s ridiculous you can’t be staring at that, there’s nothing there”. And it’s something similar that I think is going on here, as if the attempt is being made not so much to paint an area of earth as to paint the space above the area of earth, the space in the mid distance that has nothing in it. Or is it rather that viewing the painting triggers that experience? Because here I am staring and slowly becoming aware of the space between me and the painting. I get nearer so that I can see the brush strokes and the way the surface is constructed, inspecting the canvas edges where the colours underneath the unifying ground are more easily identified, and so it is the painting I am seeing rather than the space between us. Then, as I step back to make sense of the whole it’s that mid space again. The painting wants to be stared at in this way! And it dawns on me that it’s boundaries I am thinking about again, the boundaries within the painting, then the boundary between the painting and it’s environment, between the painting and me, and that is a very fuzzy boundary indeed. I find that I can identify with the painting and also dis-identify, I can be “in it” and “outside it” just by shifting my awareness subtly, in a similar way to the shifting between figure and ground that is part of what happens in these pictures. The painting is a container, but what it contains extends beyond its own boundaries, limited not so much by the edges of the canvas as by my own visual field.

Talking with David Manley, the curator of this exhibition, we note some of Disley’s influences, there’s something of William Scott in here, especially in the drawing, and I wonder if Agnes Martin’s use of muted colour might also be an influence. I think that Scott’s paintings seem to be much more about tone and Martin’s much more about hue and I attempt to characterise Disley’s paintings using the same categories, but come to no conclusion. I do find that I am influenced by them, as getting back to the studio I realise that I have filtered out the high colour in the painting I am currently working on.

Susan Disley – Rosie Kearton is showing at Harrington Mill Studios until 31 July, viewing by appointment email or tel: 07891 262 202

(The Lackoff and Johnson quote is from George Lackoff and Mark Johnson, Metaphors We Live By, 1980, University of Chicago Press)

Histories 2

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Andy Parkinson, Minor Histories 2, mixed media on board, 6 1/4" x 6 1/4"

Andy Parkinson, Minor Histories 2, mixed media on board, 6 1/4″ x 6 1/4″

Written by Andy Parkinson

July 6, 2013 at 6:00 am

Minor Histories (new painting)

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Andy Parkinson, Minor Histories, 2013, mixed media on board, 7 1/4" x 7 1/4"

Andy Parkinson, Minor Histories, 2013, mixed media on board, 7 1/4″ x 7 1/4″

Written by Andy Parkinson

July 4, 2013 at 6:00 am