patternsthatconnect

abstract art, a systems view

Posts Tagged ‘Manchester

“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

About Painting coming to Castlefield Gallery in June

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About Painting

Claudia Böse, Louisa Chambers, Lisa Denyer, Terry Greene, Matthew Macaulay, David Manley, Andy Parkinson, Anne Parkinson

Curated by Lisa Denyer

Venue: Castlefield Gallery, 2 Hewitt Street, Manchester M15 4GB
Preview: Thursday 19th June 6–9pm
Exhibition continues: Friday 20th June – Sunday 29th June 2014

Terry Greene, 'Adventures in Naples' 2013, Acrylic on canvas, 35x45cm

Terry Greene, ‘Adventures in Naples’ 2013, Acrylic on canvas, 35x45cm

“The aim of art, so far as one can speak of an aim at all, has always been the same; the blending of experience gained in life with the natural qualities of the art medium.”
– Hans Hofmann

About Painting is an exploration of contemporary abstract painting. The exhibition documents systems based, highly structured pieces as well as those demonstrating a freer and more spontaneous language.

Painting is about being in the moment, exploring the properties of the medium to their full potential and allowing investigation into the multi faceted characteristics of paint. Abstraction is an engagement with the fundamental nature of the world through perceptive means. It is ambiguous and open to interpretation. It doesn’t pertain to any single subject, and has the capacity to represent a multitude of thoughts, feelings and visual stimuli.

Painting continues to be relevant because it is not convoluted or arbitrary, but honest and immediate. The painting process is reliant upon intuitive processes and the discovery of new possibilities. It involves being responsive, analytical, and fully engaged with the materiality of the medium. Dialogues, synergies and tensions are created, and polarities of colour explored on a given surface, often evoking a sense of recognition.

Every experience a painter has informs the making of work, just as the viewer brings their own knowledge which informs interpretation. In this exhibition, the viewer is invited to consider the decision making involved in the creation of a painting in terms of a series of significant events that align to form the compositional whole.

About Painting is part of Castlefield Gallery‘s Launch Pad exhibition programme.

Callum Innes at Whitworth Art Gallery

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The exhibition of recent paintings by Callum Innes  at Whitworth Art Gallery is astounding, quite literally breathtaking.

It includes works from his series of Exposed Paintings, where using turpentine, he removes layers of black oil paint to reveal underlying colours, leaving the evidence of his process on the canvas and around the canvas edges.

Callum Innes, Exposed Painting Green Lake, 2012, Oil on linen. Image by courtesy of Whitworth Art Gallery

Callum Innes, Exposed Painting Green Lake, 2012, Oil on linen.Oil on linen, 205 x 200cm, Courtesy Frith Street Gallery, London

As I am examining the edges of the canvas to attempt to discover which colours were laid down first a man interrupts me to ask

“have you found any?”

“any what?”

“any brushmarks”.

I think there are some, but the removing of paint is more evident and the multiple layers tend to prevent the perception of individual mark-making.

There are paintings here also from the Monologue series, in which washes resembling a waterfall or a mist cover the entire canvas. Innes’s paintings are rarely ever strictly ‘monochromes’, but I do think that they speak from and to that tradition, and I wonder if the title of this series hints at this.

All the paintings here are of a fair size, big but not massive. There are paintings that do not appear to belong to a named series, Untitled no 31 for example. On second thoughts, they do form a series: the Untitled series in which the canvas is divided vertically into two sections, sometimes into roughly equal halves, but not always.

Callum Innes, Untitled no 31, 2012. Image by courtesy of Whitworth Gallery

Callum Innes, Untitled no 31, 2012. Oil on linen, 160 x156cm, Courtesy Frith Street Gallery, London

Sitting down, I look at Untitled no 31 for a long time and it is only the nagging awareness of an upcoming appointment that eventually motivates me to get going. I want to say that there’s something timeless about it except that it also seems to mark the passing of time both of the artist in the making of it and of the viewer who wishes to stay on and gaze. It may be more accurate to say that it induces a time distortion. I get absorbed in the process of seeing, at first accompanied with internal dialogue but less and less so. Time seems to have stopped. It’s not altogether a reverie, nor is it all emotion; whilst there is something emotional about it, there is also “something for the mind to do”. I become fascinated by the line that separates the two ‘halves’ or that joins them, there does seem to be an actual line which can be seen very close up, absent from middle distance but becoming magnified optically after prolonged viewing from where I am seated a few feet away. The surface also takes on a slightly undulating quality. I have the impression that these optical effects are bi-products of the painting process rather than deliberately sought after or designed-in by the artist.

The exhibition also has a selection of works on paper and 20 new watercolours made especially for the Whitworth.The watercolours are displayed laid flat on a long table in a manner that recalls the process of making them. Innes lays the sheets of paper out in sequence and works on them in order, beginning each one by masking off a square in the centre of the paper, blocking it out with a wash of watercolour and leaving it to partially dry before removing the masking and adding further layers allowing them to be slightly larger or smaller than the initial square, so residues of the unmixed colours remain at the edges.

Callum Innes, Cerulean blue / Transparent Orange, 2013. Image by courtesy of Whitworth Gallery

Callum Innes, Cerulean blue / Transparent Orange, 2013, Watercolour, 56 x 77cm, image by courtesy of Frith Street Gallery, London

Each work combines two colours transforming them in the process into a new, indeterminable hue. I am reminded of the dialectical triad: thesis, antithesis, synthesis, which in turn reminds me that no ‘formalist’ painting can ever be only formal, it is always also trans-formal.

Callum Innes, Ivory Black Green / Titanium White, 2013, watercolour on Fabriano Artistico HP 640gsm, 56 x 77 cm. Image by courtesy of Whitworth Gallery

Callum Innes, Ivory Black Green / Titanium White, 2013, Watercolour, 56 x 77cm, image by courtesy of Frith Street Gallery, London

There is something right about seeing them laid horizontally, partly because it maintains the sequence, encouraging me to see each individual work as a part of a larger whole, and partly because I think the colours are slightly intensified when seen in this orientation.

Callum Innes, Red Violet / Gamboge Modern, 2013,  watercolour on Fabriano Artistico HP 640gsm, 56 x 77 cm. Image by courtesy of Whitworth Gallery

Callum Innes, Red Violet / Gamboge Modern, 2013, Watercolour, 56 x 77cm, image by courtesy of Frith Street Gallery, London

These works, whether the large paintings or the watercolours, are only deceptively, simple. All the actions that are documented in the production process are in themselves very simple, and sometimes they result in paintings that at first glance also seem simple. Yet linger only a short while and their complexity becomes more apparent. And it’s paradoxical in that the process of making is never hidden, it is in one sense clearly displayed. However, the moment I try to piece it together it eludes me it all starts to seem too difficult to follow, much of the process now being obscured by the very action of layering and removal of paint. If I might switch sensory systems for a moment I could say that viewing them is akin to the experience of listening to music by Steve Reich, on the one hand simple ( I resist the ‘minimalist’ tag) and on the other, highly complex.

The Callum Innes exhibition, part of the Whitworth Spring Season, opened on 2 March and continues to 16 June 2013.

Quick! Get Treatment at PS Mirabel

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The abstract painting exhibition at PS Mirabel Manchester is a treat, a sight for sore eyes as it were. But hurry, the last day you can see it is Saturday 9 March!

PS Mirabel is a new gallery space on the ground floor of Mirabel Studios and is open on Saturdays from 11am to 5pm or by appointment. So, having seen the write up of  the current show at Abstract Critical I made an appointment to visit.

Curated by Lisa Denyer, Treatment features the work of six contemporary abstract painters from across the UK:

Laura Jane Blake‘s delightful watercolour Fold Abstraction #2 unframed and simply pinned to the wall treats painting as an empirical means of investigating structure that seems to develop organically from a simple geometric starting point, the medium lending, as well as its translucent colour, also a looseness to what might otherwise seem too tightly formed.

Richard Ward‘s digital prints have a quality of light that, like watercolour, seems generated from the inside, similar to the experience of looking at a screen, possibly encouraged in the title Brief Encounter, recalling the 1954 film romance, but whereas that was black and white, set in the era of the steam locomotive, this image is in full colour and set in the digital age. Whilst including other references to the past, in the history of abstraction, particularly the photograms of Man Ray, these digital prints demonstrate what abstraction can be now and suggest what it could become in the future. After all, this is a show about the nature of abstract painting, the digital print being firmly placed in that category, as if painting could become, to quote Lisa Denyer in our conversation here “anything we want it to be”.

Mattise’s cut outs come to mind for me as a treatment of material that we think of as ‘painting’ even though the only painting was in the preparation of the paper prior to being cut. And if the paper being used was industrially coloured it would still read as ‘painting’, like the wonderful card on card works on show here by Neill Clements.

Neill Clements, series of cut-outs, image by courtesy of PS Mirabel

Neill Clements, series of cut-outs, image by courtesy of PS Mirabel

They are individually titled, encouraging us to view each one in its own right and yet, seeing them in series like this, leads us also to treat them as parts of a larger whole, like a frieze or a cartoon strip. And they have some of the humour of a cartoon, almost like visual jokes, the one third from the right for example: Halloween. They also have tongue-in-cheek references to other abstract art e.g. Black Carl Andre…

Neill Clements, Black Carl Andre, 2012, image by courtesy of PS Mirabel

Neill Clements, Black Carl Andre, 2012, image by courtesy of PS Mirabel

…and figural associations e,g, Valley.

Neill Clements, Valley, 2012, card on card. Image by courtesy of PS Mirabel

Neill Clements, Valley, 2012, card on card. Image by courtesy of PS Mirabel

The unavoidably associative quality of otherwise abstract images means that it’s both the definition of ‘abstract’ as well as the definition of  ‘painting’ that is up for consideration here, in a way that is humorous without becoming ironic.

Terry Greene‘s work contains some humour too, especially when viewed with the titles, as in An ever-expanding, loving, joyful, glorious, and harmonious universe, which might also have some irony in it. Titling abstract paintings is, I think, a better strategy for differentiation than say numbering them and although “Untitled” avoids over-influencing the viewers’ interpretation it makes differentiation impossible. So Greene’s titles are ambiguous and seem free-associative both for artist and viewer, (free association being a psycho-therapeutic treatment all of its own). The image reminds me of a portal, a window on the world, but one that thwarts the attempt to find a world out there. I am particularly impressed by Greene’s use of colour and the variety of the acrylic paint handling. In Cathedral the build up of paint at the edges, overflowing the sides of the support acts as a record of the process and invites the viewer to imagine how that process led to the realization of this particular image/object. The paint in That’s the sun in my hands, man! looks like it was squeegeed in opposite directions forming two impasto waves in the act of separation, revealing a ‘sky’ of almost indeterminable colour.

Terry Greene, That's the sun in my hands, man! 2012, acrylic on canvas. 12" x 16". Image by courtesy of the artist

Terry Greene, That’s the sun in my hands, man! 2012, acrylic on canvas. 12″ x 16″. Image by courtesy of the artist

Mark Kennard  in his treatment of paint employs more of a staining technique, the weave of the canvas showing through most of the time. Untitled is a near monochrome surface where the staining/brushing of paint has been interrupted creating a horizon line where an underpainted ground shows through and appears to glow. The whole surface has something of a glowing quality, and on closer inspection the paint looks thicker than I first thought, and has a gloss sheen to it. I cannot tell whether it is a varnish applied to the paint surface afterwards or whether the thick gloss quality is in the paint itself. I suspect it is the latter. However, the overall impression is of a lightness that may be my own ‘treatment’ in that it may be more optical than material.

Mark Kennard, Untitled, 2012, Oil on Canvas, Image by Courtesy of PS Mirabel

Mark Kennard, Untitled, 2012, Oil on Canvas, Image by Courtesy of PS Mirabel

Matthew Macaulay uses painterly mark-making in a variety of ways on different canvases arranged on a shelf, one canvas slightly smaller than the others and overlapped by those on each side, having the effect that I want to re-arrange them so I can see what is just out of view. But then all painting is like that isn’t it? There are other paintings included in the final version that are hidden forever underneath the final layer. In this arrangement the hiding is temporary, provisional, and the obscured detail could, theoretically at least, still be accessed. Reading the painting is more like looking at books on a shelf than it is like seeing a picture, there is little ‘image making’ going on here. The piece is entitled Coventry Construction, and invites a reading from left to right, where the mark making starts out simple and gets more complex, more layered and dense towards the right hand side, as if building up from scratch. It’s a construction, bringing to mind the constructivist tradition, yet some of the later marks are reminiscent of the more informal gestural abstract/figurative traditions, one canvas with Hodgkinesque marks and the final one more Aurebachian.

Matthew Macaulay, Coventry Construction, 2012, oil on canvas. Image by courtesy of PS Mirabel

Matthew Macaulay, Coventry Construction, 2012, oil on canvas. Image by courtesy of PS Mirabel

There’s a world of variety of abstract painting here in this modest sized space and my own malady, a deficiency of access to abstract painting outside London, is amply treated at PS Mirabel today.

Flailing Trees by Gustav Metzger

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Visiting Whitworth Art Gallery, Manchester, can’t be done without bumping into these upside-down weeping willows, 21 in all, set in concrete, an art work by Gustav Metzger, entitled Flailing Trees.

 

An example of ‘auto-destructive’ art, it will self destruct in who knows how many seconds. Well, it was made nearly three years ago and one of the trees has fallen. That happened about three weeks ago.

Written by Andy Parkinson

September 4, 2011 at 9:20 am