patternsthatconnect

abstract art and systems thinking

Posts Tagged ‘abstract art

Channa Horwitz Review at Saturation Point

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Go to the Saturation Point website for a review by Mark Liebenrood of the Channa Horwitz exhibition on show at Raven Row, London until 1 May.

Channa Horwitz (1932–2013, Los Angeles) was a pioneer of “a distinctly Californian minimalism” in the late 1960s and 70s, although she received scant attention from the art world until the end of her life.

Channa Horwitz, Canon 6 Variation II, 1982 Ink on Mylar. Courtesy Collection Oehmen, Germany, photo by Timo Ohler

Channa Horwitz, Canon 6 Variation II, 1982 Ink on Mylar. Courtesy Collection Oehmen, Germany, photo by Timo Ohler

 

Read the full review here

Written by Andy Parkinson

April 28, 2016 at 6:27 am

Gesso and acrylic paint on nothing! Deb Covell’s new painting at OBJECT / A

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The exhibition Here and Now, recently on show at OBJECT / A, Manchester, UK, featured just the one artwork, a wonderful painting entitled Present (2016) by Deb Covell, a painted black square, without a support, gesso and acrylic on nothing, suspended from the ceiling by wire.

Deb Covell, Present, 2016, gesso and acrylic, 140 x 140 cm. Image by courtesy of the artist

Deb Covell, Present, 2016, gesso and acrylic, 140 x 140 cm. Image by courtesy of the artist

 

Read my review of it here at the Saturation Point website.

Warp and Weft (new painting)

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Andrew Parkinson, Warp & Weft, 2016, acrylic on canvas x 2, each stretcher 30" x 30".

Andrew Parkinson, Warp & Weft, 2016, acrylic on canvas x 2, each stretcher 30″ x 30″.

Written by Andy Parkinson

March 1, 2016 at 8:30 am

Richard Devereux, Continuous Now at Tarpey Gallery

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It already seems like an age since I bumped into a few friends at the PV of the Richard Devereux exhibition Continuous Now, at Tarpey Gallery, though it was only November. There is much debate about the work on show, mostly a fascination with the “how” rather than the more contemplative mode that I had expected. They’re enchanting paintings that probably aren’t paintings at all, and that’s part of what gets us into conversation before each work: “what is it?” not in the sense of “what does it represent?” but “what is this thing that I am looking at and how was it made?” They didn’t drop out of the sky that’s for sure but were they actually touched by human hands? They almost approach the acheiropoiesis of certain byzantine icons, that were supposedly made “not with human hands”. Their method of production, though it is clear that they were brought about by some process of making, is unfathomable, at least to me, and to those gathered at the PV, each of us offering our speculations, maybe they are printed, or possibly the process is close to photography. I get up really close to see if there is texture and if the smaller marks are really marks at all, much as one might check whether an image is a reproduction. I am searching for clues as to how the work is made. I take my glasses off and put them back on again. I look from the side and from the front, at different distances, and I am still unsure. Even when I decide one thing I later change my mind.

Richard Devereux, One Morning We'll Slip Into A Harbour We Have Never Known, (After Olav H. Hauge), 2015, aqueous polyester and pigment dispersal on panel, 121.0 x 162.5 x 5.0 cm. Image © Richard Devereux 2015

Richard Devereux, One Morning We’ll Slip Into A Harbour We Have Never Known, (After Olav H. Hauge), 2015, aqueous polyester and pigment dispersal on panel, 121.0 x 162.5 x 5.0 cm. Image © Richard Devereux 2015

In a recent article at Abcrit Jeremy Gilbert-Rolfe argues that “we see paintings as beings rather than things. To share a space with them is more like being with a person than with a table or a rug”. Being with these artworks is not at all like being with a table or a rug. Maybe that’s why I think they are paintings, whether strictly speaking they are or not. After all, what is “aqueous polyester and pigment dispersal”? None of us here can explain it even though at first we thought we knew what it meant. Reading in the gallery notes that

the work is made by using a high-density pigment which is applied to a 100% cotton fibre membrane. By employing conventional masking methods and a variety of ‘pressure dispersal techniques’ – which have evolved over extensive periods of experimentation – the unique surface evolves as the dispersal flow is disturbed and randomised by a form of ‘particle interference’. The finished membrane is then mounted and then coated with several applications of archival, water-clear, acid-free, matt varnish,

helps me a bit, and I have to say that it does sound like painting, if not quite as we know it.

Other Places ()29.1 x 40.2 x 4.0 cm

Richard Devereux, Other Places (series two) II, 2015, pigment dispersal on panel, 29.1 x 40.2 x 4.0 cm. Image © Richard Devereux 2015

Once I get over that I don’t know how they’re made and I get on with just looking at them. I am captivated, enthralled even, but not quieted. My state is more one of excitation, and it only very slowly gives way to something calmer.

The paintings (?) are quite similar, monochromatic or almost so, always blue or turquoise, the parts entirely determined by the whole, yet themselves making up that whole, and only subtly differentiating themselves as ‘parts’. The differences between one painting and another becomes interesting. I have favourites, but it’s not easy to say why. I like the ones that don’t have a border more than the ones that do, and I attempt to rationalize why that might be. Is it that the border appears to display the work more conventionally, emphasizing the image more than the object, whereas in those that have no border the image/object relation is more ambiguous? I am enjoying all of them, each individual work having something at times only slightly different to offer. In One Morning We’ll Slip Into A Harbour We Have Never Known and Other Places (series two) II, I sense that I am looking at a landscape but only long enough to be brought back to the surface by the homogeneity of incident and lack of representational markers. But the surface is difficult to discern, I know it is flat yet it contains a strange kind of illusionistic quality, as if it also contains the illusion of another surface, lunar or aquatic. Then again, maybe it is a kind of weaved fabric I am studying.

OTHER PLACES (I), 2015, aqueous polyester and pigment dispersal on panel, 25.5 x 17.0 x 3.8 cm,

OTHER PLACES (I), 2015, aqueous polyester and pigment dispersal on panel, 25.5 x 17.0 x 3.8 cm. Image © Richard Devereux 2015

Other Places (I) and Other Places (II), both small paintings, have obvious similarities as well as noticeable differences. Other Places (I) has more the appearance of movement, as if the image was fixed in mid flow, whereas Other Places (II) is static both in the sense of “still”and in the sense of an electrical buzz that is almost auditory, and it seems to hold more surface detail. It’s this second one that I like the most. I really like it and spend ages looking at it. Yet, I find it almost impossible to verbalize what it is that I am enjoying so much. I like the other one, but I like this one more, why? I am reminded of a time I was viewing a painting by Clem Crosby in a London gallery not so long ago. A critic who joined me pronounced an immediate judgment, something along the lines of “the colour is awful”. I made the mistake of asking him what he thought was “awful” about it, only to find that If I didn’t already know he certainly wasn’t going to explain it to me, it was so obviously self-evident. My own view was that the colour was rather good, but I would have been equally unable to justify my position. I am not at all sure that the words I have learned to say to myself are anything like an accurate report of my experience. Is this the whole point of looking? Almost that the more difficult it is to say in words what’s happening, the more interesting is the work, but that’s no reason to give up on the attempt! Nevertheless, for now, I just look.

OTHER PLACES (I), 2015, aqueous polyester and pigment dispersal on panel, 25.5 x 17.0 x 3.8 cm

OTHER PLACES (II), 2015, aqueous polyester and pigment dispersal on panel, 25.5 x 17.0 x 3.8 cm. Image © Richard Devereux 2015

Continuing to look, it’s the constructed-ness of the work that regains my attention, and I imagine once again the method of its making and what relationship the artist has to each finished piece. How much control does he exert, versus the paintings almost making themselves? Could it be that the notion of self-organization, or autopoiesis is helpful in thinking about this artist’s production, a development from the acheiropoiesis I started out with? As Devereux says

The work continually evolves, the work carries me – it knows far more than I do – I’m simply a facilitator.

It is no longer idols or icons I have in mind, more the way that (living) systems invent themselves. I am thinking metaphorically, clearly paintings are not alive, yet we do tend to relate to them “as beings rather than things”. Is a painting akin to a self-organizing system, and perhaps specifically so in Devereux’s method, (though indeed I have little understanding, if any, of what that method might actually be)?

Written by Andy Parkinson

January 14, 2016 at 11:50 am

Chance and Order at Eagle Gallery

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The Chance and Order exhibition at Eagle Gallery takes its title from Kenneth Martin‘s early 1970s series of works, that he later developed into his Chance Order Change series, magnificent paintings in my view. The show brings works from the 1960s and 1970s by the British Constructionist and Systems Group together with more recent works by artists who currently draw upon this tradition. It is a mystery to me that this incredibly rich field in British art has been somewhat overlooked, when the paintings, drawings reliefs etc. of Kenneth and Mary Martin, Jeffrey Steele, and many others in this grouping are among the finest produced anywhere in the world. That they are being appreciated now by more than a generation of younger artists seems absolutely appropriate.

NATALIE DOWER Root Two Spirals no 2 2014 oil on canvas 85 x 122cm

Natalie Dower, Root Two Spirals no 2, 2014, oil on canvas 86 x 122 cm. Image copyright of the artist by courtesy of Eagle Gallery

The two 2014 paintings by Natalie Dower are wonderful, both exploring the properties of Root-2 rectangles, which can be halved and halved endlessly and each time the rectangles will be of the same proportions. In these paintings Dower employs a rotating or spiralling movement to position repeatedly halved rectangles or triangles, (the triangles being derived by halving the rectangle diagonally), differentiating them using a nine colour sequence, in each reduction the triangle and rectangle shape share the same colour. There are nine moves, so nine colours are duplicated on two spirals tracks, one situating the triangular units and one the rectangles. On the first move the two units occupy the same area but in the subsequent diminutions the first two moves are in the same halves but then the track of rectangles curves inwards whilst the triangle track follows the periphery. The smaller scale units have priority over the previous, larger ones.  If I am not mistaken Two Spirals No.2 is the inverse of Two Spirals No.1, in the same colours, used in different order. I read somewhere that the colours are “muted”, but that’s not really my experience, white may have been added, they are not quite primary and not quite secondary colours, but to my eyes the colours are high, with turquoise, cerulean blue, orange and yellow contrasting with Payne’s grey, white and a neutral base. The logical relationship of shapes and the sequential ordering, is combined with the intuitive, in the form of two sets of choices: the system being explored and the colours used, an inventive fusion of chance and order that I am finding in each of the works in this exhibition.

Kenneth Martin, Chance Order Change 1978 pencil and ink on paper 21.5 x 29.5cm (1)

Kenneth Martin, Chance Order Change (2 Drawings),1978, pencil and ink on paper, 21.5 x 29.5cm. Copyright Estate of Kenneth Martin, Image courtesy of Annely Juda Fine Art, London.

There’s a rotational theme too in the Kenneth Martin, Chance Order Change drawings, the paper having first been marked with numbered points, moving clockwise around the rectangle, the artist generated the lines by taking numbers, two at a time, at random out of a bag. A line was drawn between each successive pair of numbers as they were picked out. Chance determined the sequence and the number of parallel lines, the first drawn would have one line, the second two lines and so on. Change was initiated by rotating the drawing by 90 degrees and repeating the process for three rotations. The result is this intriguing network of lines which was then transferred to canvas. Order and chance may appear to be opposites, yet here their opposition is suspended, one being determined by the other.

Katrina Blannin, Diamond Light 50 (tonal Rotation with Pink/Green: Blue/Black Demarcation), 2014, acrylic on linen, 50 x 50 cm, copyright of artist by courtesy of Eagle Gallery

Katrina Blannin, Diamond Light 50 (tonal Rotation with Pink/Green: Blue/Black Demarcation), 2014, acrylic on linen, 50 x 50 cm, Image copyright of the artist by courtesy of Eagle Gallery, London

Katrina Blannin also employs rotation in her method, using the same double hexad starting point that has by now become familiar to regular viewers of her work, this time skewed to fit a square format, oriented to hang as a diamond shape, which is subdivided into triangles differentiated by a range of colours (yellow pink green red blue and grey) that get darker and then lighter in rotation. Narrow demarcation lines are also added. There is a sense in which the careful definition of parts leads to accurately separating flat areas of colour, yet they immediately set up fascinating, shifting spatial relationships that create ambiguity. I think of them oxymoronically as precisely ambiguous. There are three paintings in sequence here increasing in size from left to right: 50 x 50 cm , 60 x 60 cm and 70 x 70 cm.

Mary Martin, Drawing for Cross 1968, pen on paper 25.3 x 20.3cm

Mary Martin, Drawing for Cross 1968, pen on paper 25.3 x 20.3cm. Image Copyright: estate of Mary Martin, courtesy of Annely Juda Fine Art, London

Mary Martin‘s drawing for Cross, a preparatory study for the magnificent stainless steel on wood relief that won the John Moores prize in 1969, is a diamond shape on a square. In the drawing Martin uses six iconographic figures, one for each of the six positions of her basic unit of a half cube, cut on the hypotenuse, faced with stainless steel, that she used in the relief. The half cube, placed in six different positions and and then arranged in a variety of sequences results in an amazing complexity of form, as demonstrated in this beautiful drawing. There’s a similar strategy being followed in Jeffrey Steele‘s outstanding Six sets of 7 x 5 half circles in cinematic rotation. It does “what it says on the tin”, yet whilst the descriptive title may sound somewhat prosaic, the visual experience is surprisingly poetic. And this is where I am supposed to say that their approach is not “mechanical” or “formulaic”, because we seem prejudiced towards those ideas, preferring instead the illusion of freedom. So I am going to say the opposite: it is formulaic, mechanical, digital (though not virtual), and that’s good! These drawings and paintings are totally contemporary, dealing with the issues of our day, without ever representing them or commenting upon them. What we are faced with in these works, precisely because of their programmatic or systematic formality, are the big, dare I say existential, questions to do with freedom and necessity, chance order and change.

Andrew Bick‘s OGVDS (Tilted Forward/straightened) v 5 is perhaps less systematic. Rather than numeric permutations of a single unit, we have more playful, serial variations on a theme, the theme being a particular grid arrangement that looks very different depending on changes to colour, texture, quality of mark and perceived depth. His work has been described as ‘gently disruptive and purposefully chaotic’, and it is easy to see this here. I like the gentle disruption in the spatial shifts as two large dark grey areas, an interrupted triangular shape at bottom left and a rectangular slab taking up nearly all of the right-hand half of the painting, first share the same literal plane and then snap into opposition, the larger shape receding in space in one interpretation, or jutting forward, in another, two orange irregular rectangles joining this game of push/pull, perhaps supporting the first interpretation slightly more than the second.

Andrew Bick, OGVDS (Tilted Forward/Straightened)V 5 , 2014, mixed media on linen on wood, 76.5 x 64.5cm, image copyright of the artist by courtesy of Eagle Gallery and Hales Gallery

Andrew Bick, OGVDS (Tilted Forward/Straightened)V 5 , 2014, mixed media on linen on wood, 76.5 x 64.5cm, image copyright of the artist by courtesy of Hales Gallery, London

The Martins, in common with many of the British Constructionists moved somewhat away from painting towards constructed reliefs, Jeffrey Steele on the other hand, and it would appear that this is also true of Bick, Blannin and Dower, have stayed with painting, In a recent interview with Steele for Turps Banana, (Issue 11),  Blannin asks him “Why is it important to develop …the historically charged process of ‘paint on canvas’?” In his answer Steele says “I have always wanted to try to justify the supreme importance of painting” contrasting the painter with the artist-as-manager who has works made in a factory, arguing that in the latter process “you lose the evidence of the ‘journey'”, adding that “for me the ‘journey’ is worth knowing and (its) traces… are important to see”. In every one of the works in this exhibition there is such evidence. Perhaps the show itself evidences the continuation of a journey, starting out with the British Constructionists and reaching into the future, an exploration rather than a repetition, yet quite possibly, ending as T S Elliot would have had it, where we started and knowing the place for the first time.

Chance and Order was on view at Eagle Gallery from 20 November to 19 December 2014

Six Fugues by John Bunker

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On my trip to London on what must be the hottest day of the year so far, even though it’s now about 7 o’clock  in the evening it’s still really warm and here I am wearing a suit, carrying luggage and chasing across the capital to visit Westminster Library, to see collages by John Bunker in the show Six Fugues, curated by Sam Cornish.

Installation view, my snapshot

Installation view, my snapshot

The moment I set eyes on them I know the effort was more than worth it. I have seen one of these in reproduction and liked it, but seeing them here for real is so much better. Why is it that not being able to hold them in my hand and perceiving the depth of the supports and the proper sizes makes a difference?  Also, that they have weight, they are on MDF rather than paper, (no glass – excellent), adds to the sense of their physical presence. That, as well as the stuff they’re made from, “torn posters, shattered CDs, abandoned chicken-shop boxes,”  combined with the painterliness of the gestural flourishes, even in collage there are plenty of those, all adds to their materiality. Nevertheless, I can’t help but think of them as paintings, the construction method of which is  collage, rather than collages made with painted elements.

John Bunker, Shady Hill Fugue, 2014, mixed media collage on MDF. Image by courtesy of the artist

John Bunker, Shady Hill Fugue, 2014, mixed media collage on MDF. Image by courtesy of the artist

In the exhibition notes Sam Cornish reminds me that collage is a century old, and the many library books open at appropriate pages assembled on a table and in a display case connect Bunkers work clearly to this tradition, a reproduction of Kurt Schwitters’ The Hitler Gang from 1944, having immediate resonance, for me, with Bunker’s Falling Fugue with it’s strong triangular figure and concentric circle motif.  As in other works here, the figures(torn and cut shapes and gestural painterly marks), seem to occupy a fairly narrow cubist space, blues often being interpreted (by me at any rate) as sky, which sometimes opens up into a much deeper space than I was first perceiving, especially in Shady Hill Fugue where the blue plane on the right hand edge becomes as sky seen beneath, but also beyond, an archway suggested by an arc in sandstone ochre, possibly the MDF support. A triangle of a similar colour inserts itself at the bottom right hand corner which is different enough tonally to bring it forward of the darker and more saturated central ochre colour, allowing the other shapes to dance within the space created. I say dance because they seem ungrounded, there’s no sense of an earth or floor other than the bottom edge of the support.

John Bunker, Falling Fugue, 2014, mixed media collage on MDF, 54 x 52.5cm, Image by courtesy of the artist

John Bunker, Falling Fugue, 2014, mixed media collage on MDF, 54 x 52.5cm, Image by courtesy of the artist

In Falling Fugue the obstructed blue circle along the left edge doesn’t quite become open space, unless I focus on the bottom half of the work and then the blue area does seem to recede further than when I have the whole image in view. My eye seems to be taken downwards, I guess it must be because of the strong direction lines, pointing towards the lower edge. I do indeed get a sensation of things falling. Also, I feel that I may be looking slightly upwards, as if I am nearer to the bottom of the frame, whereas in Night Fugue it’s the other way around, enhanced in the photo by the downward angle of the shot, but still taking place when looking directly at the picture. Here the light blues and greys also sometimes become infinite space against which the flatter coloured areas jut forward or within which ink splatters become forms. Then the arrangement shifts so that the large flat area of red becomes a plane in front of which ochre, green, orange blue and grey cut outs jostle or float. The pink triangle at the bottom edge positions itself in front of the ochre but behind the grey/blue pentagon, in front of which a pale yellow triangle hovers, itself obstructed by a dark blue shape that is echoed higher up.

John Bunker, Night Fugue, 2014, mixed media collage on MDF, 30 x 33cm. Image by courtesy of the artist

John Bunker, Night Fugue, 2014, mixed media collage on MDF, 30 x 33cm. Image by courtesy of the artist

And then, of course, they are simply torn papers (etc) randomly assembled on a flat surface. I get to wondering about how much randomness there is in Bunker’s process, I imagine him scattering this week’s finds across the floor and then frenetically rearranging them. What do I know? His method may be quite the opposite of that.

Looking in other library book reproductions, I see similarities also in Cubist works from 1913 or 14, especially perhaps Juan Gris still-lives, with extensive use of collage and creating similar pictorial spaces as these I see in this show. What seems different though is the continued link in the still-lives to representational content. However much a Picasso, Braque or Gris still life is ‘abstracted from’ reality it still maintains that connection, I can recognise a guitar here, a rum bottle or a fragment of newspaper there. In Bunker’s work such elements are almost completely absent, and where for example, a fragment of newsprint or a star motif might be recognised they seem accidental.

Installation view, my snapshot

Installation view, my snapshot

The overriding similarities however, might be in the method of composition, according to rules, that are indeed abstract, in the same way perhaps that the strict laws of counterpoint and fugue in music are abstract.

Speaking of musicality in regard to Cubism, most of the following words by Paul Erich Küppers, director of the Kestner-Gesellschaft in Hanover, writing in 1920, could apply to Bunkers collages:

“…from pale harmonies of colour lines ascend, prisms shoot up, advance towards us or jump backwards, cutting steps out of the infinite space…They multiply, cluster into chords animated by the rhythm, executing their dance against the backdrop of that absolute music which is space. One experiences this transcendental dynamism no differently from the counterpoint of Bach’s fugues, so far removed from reality”∗.

And I say “most of the following words” only because “pale harmonies of colour” understates the power of the colours in Bunkers fugues, and also I don’t really find “prisms”, his shapes are flatter that that, as indeed they often were also in the collage still-lives of Gris.

John Bunker, Blue Fugue, 2014, mixed media collage on MDF, 49.5 x 38cm. Image by courtesy of the artist

John Bunker, Blue Fugue, 2014, mixed media collage on MDF, 49.5 x 38cm. Image by courtesy of the artist

If that modernist innovation collage is 100 years old, so also is the tradition of speaking of visual abstract works in terms of the musical structure of the fugue. Whilst allusions to fugue are only occasionally found in nineteenth century writings about art, they abound in the early twentieth century, the dawn of abstraction. Kandinsky entitled a 1912 painting Fugue (Controlled Improvisation), and by the 1920s lots of artists were doing it, Paul Klee and Josef Albers, amongst them.

John Bunker, John Islip Fugue, 2014, mixed media collage on MDF, 61 x 37.5cm. Image by courtesy of the artist

John Bunker, Shattered Fugue, 2014, mixed media collage on MDF, 44 x 51cm. Image by courtesy of the artist

In a fugue, one instrument or voice follows another echoing note for note the initial tune, as in a ’round’, the voice that enters last reiterates the opening melody (the fugue subject) whilst the preceding voice carries on with its own independent tune (the counter subject), with three or more parts the same process is repeated several times, amazingly the voices fitting together and making sense in ‘counterpoint’. There are usually three sections: an exposition, a development and a recapitulation. Melodies might be repeated backwards or upside down or played again with doubled or halved note values, and counterpoint intervals may be varied.

Such a structure can easily be translated to the visual modality, a figure being inverted, rotated, mirrored, drawn back to front, etc and it all exists simultaneously in the same space. Hence its attraction perhaps for visual artists, and specifically for abstract artists because the structure is entirely formal, no rushing water, no bird song, no bell ringing, no Wagnerian images.

John Bunker, John Islip Fugue, 2014, Mixed media collage on MDF, 61 x 37.5cm. Image by courtesy of the artist

John Bunker, John Islip Fugue, 2014, Mixed media collage on MDF, 61 x 37.5cm. Image by courtesy of the artist

So, for example, in John Islip Fugue, we get arcs and circles each echoing another, in similar and contrasting hues, impossible now to tell which one was placed first, and rectangles that may have been rotated and layered one over another. What I am not sure about is just how systematic Bunker’s method is, the extent to which the fugue is a strict compositional device or whether it’s a fairly loose metaphor. I suspect it is the latter.

Another attraction of the fugue for abstract artists is that it offers a structural method that offers an alternative to more arbitrary approaches and it appeals more to the intellect than it does to the emotions (though we shouldn’t overlook the emotional impact) . The Constructivist tradition comes to mind for me now, with its own take on collage, structure and fugue-like systems of rotation, repetition, inversion, etc. but I will leave those reflections for another day. Enough now to say that Bunker’s six fugues are a delight!

Six Fugues: New Collages by John Bunker was showing at Westminster Library between 1 July and 19 July 2014.

 

∗Paul Erich Küppers quote taken from The Music of Painting by Peter Vergo

“About Painting” at Castlefield Gallery

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About Painting at Castlefield Gallery, Manchester, curated by Lisa Denyer, is an exploration of contemporary abstract painting, featuring eight artists including me. I hope it’s acceptable to review an exhibition in which I am a participant. The artists are : Claudia Böese, Louisa Chambers, Lisa Denyer, Terry Greene, Matthew Macaulay, David Manley, Andy Parkinson and Anne Parkinson (no relation). It is an honour to be associated with this group.

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Window of Castlefield Gallery with my own painting “cover” on the wall below.

The gallery, which is this year celebrating it’s thirtieth year, looks out onto Castlefield and Deansgate rail and metro stops. Today at the opening, on such a warm and sunny evening the place has something of a continental feel to it. The colours of some of the paintings, warm hues against a pristine white backdrop, add to this sensation.

Installation shot, my photo

Installation shot, my photo: On wall: paintings by Lisa Denyer, Louisa Chambers and Claudia Bose, On floor: paintings by Claudia Böse Lisa Denyer and Matthew Macaulay, including painted stones by Lisa Denyer

In the upper gallery, works by Terry Greene, Anne Parkinson and Louisa Chambers kick off the show, and already what I am noticing is the variety of approaches. Greene’s paintings are intuitively arrived at, through a process of trial and error, in a context in which it is difficult to define what an “error” might be. In a way it’s painting as problem-solving, as opposed to puzzle-deciphering, where I am thinking of problems as having multiple correct answers and puzzles as having just the one correct answer. And whilst this could perhaps be said of all painting, for me, Greene’s work gives particular emphasis to this aspect of the medium. Colour/shapes are added and responded to and then, according to some internal logic, some are wiped away with a cloth and then something different laid down in their place. The residue of previous configurations shows through the final arrangement. It would be an overstatement to say that the painting makes itself, along the lines of a self-organising system, but I bet it feels that way to the artist, proceeding by continually asking the painting what it wants to become. Neighbouring Grounds wanted to become a ground only, surrounded by other grounds that might also be standing two dimensional figures gathered around a portal when the central area is an absence. When the central area becomes a positive shape then I can divide the action in half diagonally from top right to bottom left, the other shapes joining together to form a warped frame with the three shapes touching the top and left edge receding in space whilst the shapes along the bottom edge and right hand side push forward. Three shapes opposing three others forming an irregular hexagon in the centre.

Terry Greene, Neighboring Grounds, 2014, Acrylic on canvas, 35x25cm. Image by courtesy of the artist

Terry Greene, Neighboring Grounds, 2014, Acrylic on canvas, 35x25cm. Image by courtesy of the artist

In Anne Parkinson’s approach to painting most of the decision making takes place before the paint is laid down. A system is described according to particular rules, though I am unsure whether I am working them out correctly, perhaps due to the multiple ways we have available to us of classifying our experience. In Expansion,  nine paintings on unstretched canvases are pinned to the wall in a grid formation, I see a row of three rectangles above a row of four rectangles, above a row of two rectangles, but my brain fills in the ‘blanks’ to find three rows or four with spaces. Each individual painting similarly has three rows of four rectangles, that could be read as single brush strokes, with units missing, no one arrangement ever repeated. On the top row, one of the paintings is simply a black monochrome rectangle, yet I cannot help but read it as an ’empty’ grid now that I have become conditioned to see the grid format. I am recalling Boolean algebra, or digital information theory, where either a 0 or a 1 is the carrier of ‘meaning’. Yet the colour and subtle irregularity of paint handling is decidedly analogue.

Anne Parkinson, Expansion! 2014, Acrylic on canvas, 95x114cm, my snapshot

Anne Parkinson, Expansion! 2014, Acrylic on canvas, 95x114cm, my snapshot

If this analogue/digital contrast could be stretched to suggests a theme of something akin to “Technology vs Primitivism” I could claim to find this theme running throughout all modern and contemporary art and certainly it would be a way of codifying the paintings in this show. I feel sure this dichotomy is actually present in the paintings by Louisa Chambers, though I acknowledge my propensity to over-interpret.

Paintings by (left to right) Terry Greene, Andy Parkinson, David Manley, Louisa Chambers and Terry Greene

Paintings by (left to right) Terry Greene, Andy Parkinson, David Manley, Louisa Chambers and Terry Greene

There are four wonderful paintings by Chambers here, two from her Flatland series, one from her Rotation series and one from her Two-Foldness series. I love her use of colour and the way the images shift and create multiple readings, only one of which can be held at any one time, creating a sense of movement as well as a shifting of space within an essentially two-dimensional framework. Patterns are established and then interrupted, and figuration is suggested and then suspended in a continuous loop. The images have a cartoon like appearance, reminding me at times of TV graphics, and when I find figuration it is often technology or machinery in a landscape that comes to my mind. Issues of playfulness (and its difficulty) within a technologically determined world seem at least alluded to.

Louisa Chambers, Sound Reflector, 2012, Acrylic and oil on canvas, 70x60cm, my snapshot

Louisa Chambers, Sound Reflector, 2012, Acrylic and oil on canvas, 70x60cm, my snapshot

If in my viewing of Chambers’ paintings today it is image that I am most aware of, in David Manley’s and Lisa Denyers paintings I am reminded that a painting is also an object. In Manley’s delightful small canvases here, he explores a theme based on a proscenium arch that he first began using many years ago, and to which he has recently returned. The colours are inspired by light and colour of Cornish coastal villages, beaches and coves and the scale is small, miniature even, so that what their presentation as beautiful objects is what I see first, the fact that some of these tiny canvases are painted all the way around the sides increases my perception of them as things, also noting that the colours look particularly vibrant along the top, recalling the experience I often have when working on a painting horizontally, the amazing colour I see when the work is flat dissipates the moment I lift the work to view it vertically on the wall. Manley has maintained this colour vitality by continuing the painting around the edges and especially along the top.

Paintings by David Manley, my snapshot

Paintings by David Manley, my snapshot

Denyer’s paintings on stone are quite evidently objects. In these three dimensional paintings she brings attention to the stone rather than simply decorating it. There is an element of adding something that wasn’t there before, especially in the colours she uses, and there is a definite process of ‘doing something’ to the stone, but I am put more strongly in remembrance of Michelangelo’s strategy in relation to his Prisoner sculptures, where he claimed to draw the forms from within the rock rather than imposing them from without. In bringing my attention to the stones I notice that they are not at all in their natural state, they have already gone through a lengthy process of being quarried, built and demolished. If moments ago, I was thinking in terms of the opposition of digital vs analogue, extended to technological vs primitive, I am now thinking about the natural vs the artificial, which might actually be a subset of the other opposition already referred to.

In Denyer’s two dimensional paintings I am once again impressed by the refinement of the carefully made object, as well as by the textures of the surface when she uses found plywood. I think I have said before that I find both affirmation-and-denial of materiality going on here.

Lisa Denyer, Cube, 2014, Acrylic on found plywood, 28x31cm, my snapshot

Lisa Denyer, Cube, 2014,
Acrylic on found plywood, 28x31cm, my snapshot

I like that in her curation of this exhibition, Denyer has chosen to display the work in interesting ways. Some of her own paintings as well as some of Claudia Böese’ and one of Matthew Macaulay’s are propped against stones or displayed on plinths, emphasising their materiality. I am also very impressed by the way she has lit my own paintings so that the surface detail that is so difficult to show in a photograph, becomes easier to see.

The charming paintings by Böese here, are varied in style, some are “hard-nosed” abstraction exploring process in grid like arrangements whereas others approach figuration, based on Chaïm Soutine‘s paintings of flowers, often it’s frames and edges that she seems interested in. I sense that this links to metaphorical ‘content’ both about painting and about the psychological experience of feeling “on the edge” of something.

Claudia Böse, Relocation (I), 2010, Oil on board, 36x30cm, My snapshot

Claudia Böse, Relocation (I), 2010, Oil on board, 36x30cm, My snapshot

Matthew Macaulay’s paintings seem to have taken a near-monochrome turn as haptic mark-making and resultant images are unified using a larger swirling gesture, recalling the act of “whitening out” that builders or shopfitters might use on a large window or a vacant storefront. The gesture at once connects to a painting that is urban, vernacular, and largely unconscious. At the same time the colours he employs seem far removed from whitening. In this wonderful painting Living in a Daydream for example the overall red glows with an assertive energy. Its energy is all vision and image, whereas its gesture is more texture and material.

Matthew Macaulay, Living in a Daydream, 2014, Oil on board, 40x40cm, my snapshot

Matthew Macaulay, Living in a Daydream, 2014, Oil on board, 40x40cm, my snapshot

In my own systems oriented paintings, I may appear to be doing the opposite of Macaulay, who’s affirmation of colour and energy I might even be attempting to obliterate as I cover fluorescent coloured designs with a diagonally oriented chequer pattern. Actually, it’s what remains after this process that interests me, the way that colours show through, as well as, and perhaps more importantly, the way that when faced with a black and white pattern, and taking time to look, we involuntarily invent colours of our own.

Andy Parkinson, Contra Check 2, 2014, Mixed media on PVA coated paper on canvas, 50x50cm

Andy Parkinson, Contra Check 2, 2014, Mixed media on PVA coated paper on canvas, 50x50cm

About Painting is at Castlefield Gallery until 29 June 2014.

Evidence of a systems based process can be found in Andy Parkinson’s paintings. The checkered overlay has been adhered to a florescent ground, all but blocking out the underlying hues. However on closer inspection, vague forms and subtle colours come through from underneath. The optical illusion brought about by the contrasting black and white checkering creates the appearance of more colour in turn.

A similar repetition of motif is utilized in the work of Louisa Chambers. There is a sense of fairground and fantastical landscape in her vividly coloured paintings; it’s not surprising that contemplation of alternative universes has been instrumental in the making of these pieces. Imagery in the work references castles, monarchy, and the futuristic. These paintings bring to mind a kind of strange, robotic fairy tale.

David Manley’s intimate paintings are representative of a relatively new way of working in contemporary abstraction. Their miniature scale and clean simplicity invites closer inspection. They are the result of investigations into fundamental form and restricted colour, inspired by place, structure and an architectural interest, with particular reference to the proscenium arch.

The works on display by Anne Parkinson centre around pre-planned systems, and experiments in the properties of colour. There is an emphasis on polarity of hue, allowing a visual complexity to manifest when pared with simple mark making. The paintings were made to be shown together, so although each component is small in scale, the repetition in their display creates an impactful and responsive visual series.

The paintings of Claudia Böse show careful thought and process-led considerations around form in her exploration of the medium. Böse focusses on contained areas created by framing devices, inspired by the domestic and every day life; screens, table mats, and windows amongst others. These paintings incorporate influences from place, history and nature, creating a new interpretation of these ideas through an abstract language.

Matthew Macaulay’s playful use of paint is reflected in the titles of his work. An exciting energy is conveyed in his gestural brush stokes and mark making. Macaulay’s work is simple whilst being nuanced. His paintings celebrate colour and imbue a sense of impact, drawing on influences from art history, and reflecting his own experiences to produce something new and joyful.

Experimentation and risk taking are evident in the work of Terry Greene. However, careful consideration of form and structure is equally apparent. Traces of the painting process reveal themselves in the multitude of layers that can be discerned in different aspects of these pieces. Investigation, and a full exploration of the medium have occurred here before arriving at a tension that feels right.

Lisa Denyer’s paintings show a strong interest in materiality. The found plywood she chooses as support adds compositional details in the grain and irregularities of the surface. Simple shape, excavation and subsequent covering of colour are prevalent themes in Denyer’s work. Residual landscape associations are apparent, as well as references to architectural structures and cosmological depiction.

– See more at: http://www.castlefieldgallery.co.uk/event/launch-pad-about-painting/#sthash.b78Jnzbw.dpuf

Evidence of a systems based process can be found in Andy Parkinson’s paintings. The checkered overlay has been adhered to a florescent ground, all but blocking out the underlying hues. However on closer inspection, vague forms and subtle colours come through from underneath. The optical illusion brought about by the contrasting black and white checkering creates the appearance of more colour in turn.

A similar repetition of motif is utilized in the work of Louisa Chambers. There is a sense of fairground and fantastical landscape in her vividly coloured paintings; it’s not surprising that contemplation of alternative universes has been instrumental in the making of these pieces. Imagery in the work references castles, monarchy, and the futuristic. These paintings bring to mind a kind of strange, robotic fairy tale.

David Manley’s intimate paintings are representative of a relatively new way of working in contemporary abstraction. Their miniature scale and clean simplicity invites closer inspection. They are the result of investigations into fundamental form and restricted colour, inspired by place, structure and an architectural interest, with particular reference to the proscenium arch.

The works on display by Anne Parkinson centre around pre-planned systems, and experiments in the properties of colour. There is an emphasis on polarity of hue, allowing a visual complexity to manifest when pared with simple mark making. The paintings were made to be shown together, so although each component is small in scale, the repetition in their display creates an impactful and responsive visual series.

The paintings of Claudia Böse show careful thought and process-led considerations around form in her exploration of the medium. Böse focusses on contained areas created by framing devices, inspired by the domestic and every day life; screens, table mats, and windows amongst others. These paintings incorporate influences from place, history and nature, creating a new interpretation of these ideas through an abstract language.

Matthew Macaulay’s playful use of paint is reflected in the titles of his work. An exciting energy is conveyed in his gestural brush stokes and mark making. Macaulay’s work is simple whilst being nuanced. His paintings celebrate colour and imbue a sense of impact, drawing on influences from art history, and reflecting his own experiences to produce something new and joyful.

Experimentation and risk taking are evident in the work of Terry Greene. However, careful consideration of form and structure is equally apparent. Traces of the painting process reveal themselves in the multitude of layers that can be discerned in different aspects of these pieces. Investigation, and a full exploration of the medium have occurred here before arriving at a tension that feels right.

Lisa Denyer’s paintings show a strong interest in materiality. The found plywood she chooses as support adds compositional details in the grain and irregularities of the surface. Simple shape, excavation and subsequent covering of colour are prevalent themes in Denyer’s work. Residual landscape associations are apparent, as well as references to architectural structures and cosmological depiction.

– See more at: http://www.castlefieldgallery.co.uk/event/launch-pad-about-painting/#sthash.cu1kId2m.dpuf

Evidence of a systems based process can be found in Andy Parkinson’s paintings. The checkered overlay has been adhered to a florescent ground, all but blocking out the underlying hues. However on closer inspection, vague forms and subtle colours come through from underneath. The optical illusion brought about by the contrasting black and white checkering creates the appearance of more colour in turn.

A similar repetition of motif is utilized in the work of Louisa Chambers. There is a sense of fairground and fantastical landscape in her vividly coloured paintings; it’s not surprising that contemplation of alternative universes has been instrumental in the making of these pieces. Imagery in the work references castles, monarchy, and the futuristic. These paintings bring to mind a kind of strange, robotic fairy tale.

David Manley’s intimate paintings are representative of a relatively new way of working in contemporary abstraction. Their miniature scale and clean simplicity invites closer inspection. They are the result of investigations into fundamental form and restricted colour, inspired by place, structure and an architectural interest, with particular reference to the proscenium arch.

The works on display by Anne Parkinson centre around pre-planned systems, and experiments in the properties of colour. There is an emphasis on polarity of hue, allowing a visual complexity to manifest when pared with simple mark making. The paintings were made to be shown together, so although each component is small in scale, the repetition in their display creates an impactful and responsive visual series.

The paintings of Claudia Böse show careful thought and process-led considerations around form in her exploration of the medium. Böse focusses on contained areas created by framing devices, inspired by the domestic and every day life; screens, table mats, and windows amongst others. These paintings incorporate influences from place, history and nature, creating a new interpretation of these ideas through an abstract language.

Matthew Macaulay’s playful use of paint is reflected in the titles of his work. An exciting energy is conveyed in his gestural brush stokes and mark making. Macaulay’s work is simple whilst being nuanced. His paintings celebrate colour and imbue a sense of impact, drawing on influences from art history, and reflecting his own experiences to produce something new and joyful.

Experimentation and risk taking are evident in the work of Terry Greene. However, careful consideration of form and structure is equally apparent. Traces of the painting process reveal themselves in the multitude of layers that can be discerned in different aspects of these pieces. Investigation, and a full exploration of the medium have occurred here before arriving at a tension that feels right.

Lisa Denyer’s paintings show a strong interest in materiality. The found plywood she chooses as support adds compositional details in the grain and irregularities of the surface. Simple shape, excavation and subsequent covering of colour are prevalent themes in Denyer’s work. Residual landscape associations are apparent, as well as references to architectural structures and cosmological depiction.

– See more at: http://www.castlefieldgallery.co.uk/event/launch-pad-about-painting/#sthash.cu1kId2m.dpuf