The rise of the nutters…

Its been too long since I made a posting and sadly I’m too busy right now to do the kind of detailed discussion of several of the things I’d wish.  So it’s a brief round up instead.  Of course the way the western world is turning right now is a wee bit distracting too.  I try to refrain from comment on these matters here but sometimes it seems that the craziness out there is getting worse at the moment.  My good friend Simon has put the UK insanity over the ‘European’ question down well so go read him if needs be.  And looking across the pond it looks equally bizarre…so we watched again the other evening the classic ‘The Thick of It’ that puts it all into some kind of perspective I guess.  Another friend of mine has, with much admiration from here, put his boots on the ground in the cause of the refugee crisis that the antics of the UK government succeeding in knocking off the European leaders agenda when surely they ought to have been focussed on that (see his blog for details).  But enough of that from hereabouts…it’s hard not to feel powerless in all this.

IMG_7646

But carrying on painting does occasionally feel very indulgent and a bit futile in the face of all the mayhem.  Still its what I do I keep telling myself.  And taking an idea from the excellent Andrew Bracey I keep tweeting a detail a day of whats cooking so in this blog there’s a couple of them.

Besides working there’s been some trips out…one to the Harley Gallery in Welbeck, North Notts.  Here artists Craig Fisher, Louisa Chambers and Rob Flint have been jazzing up the space using the notion of the ‘dazzle camouflage’ – that got quite an airing a couple years back at the centenary of it’s ‘invention’ with Carlos Cruz-Dias redoing one in Liverpool, Tobias Rehberger doing it in London and with the most media coverage Peter Blake knocking one out on the Mersey Ferry.  I’m pretty sure the idea behind this show was more the eliding of their three various and varied approaches to abstraction and the use of pattern and geometry and ‘seeing’ where it might take them and the space they occupied over the show period (sadly it ends tomorrow).  When I saw it a goodly portion of the show were the various readymade works installed and the additions were still very much on progress.

IMG_7500

But you still got an idea of way in which the collision of particular pieces, pattern and colour throws up new and surprising visual tropes and how this broad field of abstraction still holds a fascination for a much younger generation of painters than those of us who grew up with the geometry of Vasarely or Riley or Stella and Noland and so on.  If we do now live in the post-factual world (as I heard a commentator on the rise of Trump say a few days ago – Prof.Larry Sabato,Newsnight BBC, 24 Feb) then ideas of what ‘works’ in abstraction are as irrelevant to a consideration of a show of this kind as facts are to the likely GOP candidate this coming Fall.  One of the most interesting aspects of the show here was the way in which each artist privileges process and material.  Chambers use of folded paper models as subject matter in what might otherwise be quite traditional modern paintings, Flint’s use of washing up cloths as ground and figure and Fisher’s OHP projections.  All in all it was intriguing and visually compelling and even in this relatively early stage, commanded and shaped the space oddly – not least with the willingness to use lively – even sickly – colour combinations.  I’d say, and its meant as a compliment here – all a bit nutty…but here in a good way!

IMG_7501

Coming more up to date Simon and myself did the Mayfair Gallery circuit earlier this week…and took in as a centrepiece the RA Garden show.  Its a pot boiler and I’m sure on the evidence of our visit going to fill the coffers.  But overall it seemed messy and sloppy with way too much ‘filler’ getting in the way of the best and most intriguing works.  We took in Albert Oehlen’s new work at Gagosian that, if nothing else, was an intriguing departure from his usual schtick that I’d applaud.  There’s a lovely show of Simon Hantai paintings at Timothy Taylor and a fair bit of minimalist allover type stuff about (Manzoni Chromes at Mazzoleni and Park Seo-Bo at White Cube in Masons Yard.  The latter giving me pause for thought about paintings I made and abandoned back in 1972!  However one of the most intriguing things of the day for me was a visit to Waterhouse & Dodd where refreshing they stick the prices on the wall next to the work.  In this instance revealing that a modest sized Paul Feiler at £160k beats a large Terry Frost by £100k…I bet that ratio would have been at least reversed 10 years back and probably then some.  Whether it says more about the demise in Frost’s reputation or the rise in Feiler’s or a bit of both who can say…what it does tell us is that its a very fickle business indeed…

IMG_7642

Away from the bright lights (and the money sadly) my work – in a modest way – is out on the gallery wall at present at Repton’s New Court, where I showed the Winter Cycle a few months back.  The show is titled ‘View Of Delft: The World In Art‘ and is curated by Charmaine Tam, currently at Repton School but shortly off to Cambridge to read Art History.  She interestingly mixed student work with five artists, myself, Jackie Berridge, Lisa McKendrick, Melanie Russell and Ruth Solomons.  Wisely and modestly she didn’t show herself but her curatorial eye was good and the range of work covered a lot of ground with the diversity of material offset by sound judgments about what would line up intelligently against one another.  Overall I am very pleased to be part of this project that shows off the department’s sixth form work well and suggests that Charmaine may be somebody to watch in the future.  Besides Jackie’s work that I know well and have great affection for (full disclosure: we have been friends and sometime studio sharers for many years) I was much taken with Ruth’s small informal drawings on envelopes and Melanie’s small panels (see one below: Box Head & Shoulders Portrait II) accompanied by Hannah Walker’s Map II.

IMG_7644

But enough…I think I’ve caught up…so back to the painting…another detail below – all this makes me wonder – Am I a nutter too!:

IMG_7503

 

 

 

 

 

 

Advertisements

Is God in the details…

Bmp-gzECQAAF-Po

I mentioned here a few months back that I’d been invited alongside many others to be a part of this show (detail) that opens soon in Bangkok, an intriguing idea that may well be more revealing of current painting practice than most.  The exhaustingly energetic Andrew Bracey is the curatorial brains behind it and deserves considerable plaudits for pulling something of this complexity together.  If you’ve seen any of his other projects you’ll be familiar with his indefatigable commitment to seeing through work schemes that would make most of us blanche but that often result in quite startlingly original and delightful outcomes.

(detail) was in my mind last evening when looking at Jackie Berridge‘s exhibition at the Lakeside in Nottingham.  Indeed its hard not to be drawn into the myriad details in these large new canvases that take her (now) familiar (to those of us who know her previous work) creatures into a host of new adventures in a fabricated landscape quite unlike any other I can think of in current figuration.

2014-05-02 19.26.00
detail from: Not So Bon(sic) Chance, Oil on Canvas, 2014 Jackie Berridge

There’s a lot of painting about that deploys the full gamut of painting tropes and techniques (indeed there’s quite a bit of it in Nottingham at present) and some of it is very good indeed.  What there is less of is open ended narratives around figuration that are wedded to the same sets of conventions and it is here that these paintings really make their presence felt.  I struggled as did my good friend David to think of any recent or current work that was mining the same seam and (without being too immodest) we have seen a lot of stuff between us.  I eventually came up with some thoughts around the 70’s and 80’s School of London where Hockney was constructing brightly coloured canvases of the Californian landscape or RB Kitaj was compacting space in a brilliant picture such as If Not, Not.  But neither of these are precedents for these new paintings with their incidents and adventures of a cast of curious characters in a landscape where the teletubbies are as likely to come over a hillock as anyone we might recognise from our own worldscape.

2014-05-02 19.25.52
Jackie Berridge, Non So Bon(sic) Chance, Oil on Canvas, 2014

I’m always drawn back to the playground of my early childhood with these pictures (I like others have been more familiar with these images as large scale drawings up until now) but with the painterly elements of colour and handling we seem to have moved into another even more dreamlike (and sometimes nightmarish) vision.  The colour palette is especially rich and in a warm early evening spring sunlight it was set off to particularly good effect but it only serves to lure the viewer into an initial security that is entirely disturbed by the content, both formal and narrative.  What is really strong in this work too is the knack of knowing when to leave well alone so that painterly incident and the author’s handwriting shines through.

2014-05-02 19.25.39
Jackie Berridge, Perfume and Savages, Oil on Canvas, 2014

This is good stuff and shows Jackie’s work reaching a maturity not just as the excellent draughts person she has always been but as a painter of real authority.  I’d say you should go see it.  And as mentioned above there is plenty of marvellous detail here that would have sat nicely in (detail)…and if you can’t make it to Bangkok (!) then fear not as it returns to the UK later in the year and Andrew is also putting a website up shortly that I’ll signpost here when available.  Is God in the details?..well we’ll get another chance to make up our minds then.