“STRANGE ATTRACTORS” – Paintings by EC

AbCrit.org gallery, London

5 June to 3 July 2022

abcrit.org gallery

“This work does not conduct itself with grand gestures. The best of these paintings make themselves felt intuitively and structurally by measures quite human. They progress carefully, in challenging jumps and starts. They are full of free and varied thought, without self-importance, working towards new and distinct states of abstract reality.” (Robin Greenwood, AbCrit website)

After seven previous shows this is the first exhibition in the newly extended abcrit.org gallery in Bell Yard Mews near the White Cube gallery, showing paintings by EC. There are 24 works on display ranging in size from 30x20cm to 122x92cm, with various permutations in between. Five are square and others portrait or landscape format. For such a range of disparity in dimension this collection literally hangs together in unison. There is a sense of the ‘series’ about the selection, yet every work has an independent status and can be viewed as a discrete piece.

The various titles are intriguing too. They read like a list of poems. For example:“Your Exquisite Manners (Frankly)”; “Unforbidden Pleasure Seeker”; “It Takes Patience to Make a Disaster”; “Yellow Swing Yellow Swing”; and “All Trajectories are Unstable”. Although “PUNK JAZZ”, the only work titled in capital letters, pays homage to a Weather Report track from ‘Mr Gone’ (1978) in which, at the start of the composition, Jaco Pastorius launches his bass guitar expertly into an unforgettable percussive jazz fusion frenzy that is, nonetheless, totally controlled. Rather like EC’s works.

EC – ‘Strange Attractors’ (90x75cm) 2014-22

These mixed media collages, that we can call paintings, are typically busy, boldly delivering overlapping patchworks of fragmented physical elements, purposefully destroyed then re-worked, but never distraught. Painterly fragments (as if) from the studio floor or bin, or from managed intentions to destroy previously made compositions, are sensuously positioned over the surface of supporting canvases. There is a visceral sense of chaos controlled, or rather, accommodated as the natural order of things prevails. Asymmetric balances and compositional nous bring these paintings into the current period of abstraction as a breath of fresh air. For this is serious stuff. Not content with employing pretty colours, punchy but vacuous vistas or harmonious and undemanding safe passages of expressive playfulness arranged for decorating an interior space, EC’s project engages with hard-earned visuality and an inherent depth of thought. The works truly engage and demand attention so honestly that you can detect joy and frustration combined. EC is one of those artists who are not distracted by the whims of fashion, socio-political issues, political correctness or commercial endeavour. This makes her work all the more engaging, as it constitutes a somewhat precarious road to travel upon that does not seek a ready-formed market position for safety.

EC – ‘Bias Interruptor’ 2022 (122x92cm)

Is EC’s project Dada-esque in spirit? Not so much anti-art (which Dada never was, of course) but anti-comfort: deploying the punk impulse to rock the boat (before it was integrated into the mainstream) when challenges are required to wake us from our stupor. From a first impression the viewer might wonder if this is a chaotic mess – though even chaos has a hidden pattern and logic. After all, why not explore and present ‘mess’? Chaos eventually controlled or simply halted at a stage of completion that is subjectively felt, has lead to these captivating and provocative works in “Strange Attractors”. Yet in a painting such as ‘Bias Interruptor’, or ‘Sanity Project (Radical Will)’, by giving some time for the paint smears and splatters seemingly applied by chance some careful looking, the open distribution in the former or the painterly concentration in the latter, actually read as carefully placed and subtly balanced compositions that reveal an expert eye and an adeptness for composure. There’s the punk irony, which hooks the viewer with clattering surprise but cares passionately after all.

EC – ‘Yellow Swing Yellow Swing’ (31x25cm) 2018-22
and ‘Swelter’ (40x30cm) 2019-21

Notably, the colour black appears in all of these works, holding things together akin to the lead scaffolding in stained glass windows. A disparate framework unevenly dispensed at times gives structure to hold the roving eye. Amalgamated into and alongside relief patchworks, dynamic structures, colour-as-paint (and vice-versa), these seemingly accidental and fortuitous juxtapositions make for engaging visual judgements that are anything but flaccid or disorganised. In the previously mentioned ‘Sanity Project (‘Radical Will’)’, a fragment of black (ink) text appears unexpectedly. Maybe it is an oblique clue of sorts. The title page from an edition of ‘Styles of Radical Will’, a collection of essays by Susan Sontag has possibly been torn up, discarded and disclaimed. I want to doubt it somehow (show some respect!): but here it is, peeping through the collaged detritus close to the centre of the composition as a potential manifesto statement.

EC – ‘Sanity Project (Radical Will)’ detail

In Sontag’s essay, ‘The Aesthetics of Silence’ she writes:

“… art comes to be considered something to be overthrown. A new element enters the individual artwork and becomes constitutive of it: the appeal (tacit or overt) for its own abolition – and, ultimately, for the abolition of art itself.”

The text and the concept have taken visual arts aside far too much and must be subsumed within the work itself, not held part in judgement. I wonder if EC’s mission is to toy with this radical notion that favours a changing resolution of “the human situation” (Sontag) as a form or manifestation of “spirituality” (Sontag, again) as an ironically playful project in itself, creating (or finding) some sort of order in chaos. Do these works employ the abstract absurdity of consciousness and self; notions of reality and worth vis-à-vis the creative impulse – and the concrete materiality that is abstract art? It all adds up to everything and nothing. But it’s something most refreshing and attractive.

EC – ‘Unforbidden Pleasure Seeker’ (30x30cm) 2019-21

Notes:

abcrit.org – Block K, 13 Bell Yard Mews, 175 Bermondsey Street, London SE1 3UW

Visit by prior appointment. Text your name and requested date and time to 07866 583629, for return. The entrance to Bell Yard Mews is opposite White Cube.

Links:

Instagram: @ec_ismyname and @abcritgallery

Susan Sontag – Styles of Radical Will

http://www.susansontag.com/SusanSontag/books/stylesOfRadicalWillExerpt.shtml

MICHELLE COBBIN: ‘I’d Be Enlightened Now If It Wasn’t For You’

Window Gallery, Phoenix Art Space

2 to 24 April 2022

Phoenix Art Space, Brighton

The Window Gallery at Phoenix Art Space in Brighton offers studio members an exhibition opportunity close to home and the latest show celebrates the abstract paintings of Michelle Cobbin. After an email exchange of questions and answers in anticipation of the exhibition I had the pleasure of helping her to hang the show and so literally saw the work very close up. I mention this, as a viewer would normally step back to view the larger works. But despite the apparent visual simplicity of many of her canvases the colourfield experience really does pull the viewer up to the surface and into an atmospheric, non-objective, realm. The weave of the canvas, however, reminded me that I was not floating in some sort of meditative dreamland but was experiencing concrete reality.

Michelle Cobbin – ‘Atmosphere’ acrylic on canvas (130 x 130cm)

I have often thought that abstraction in painting without overt reference to a particular narrative, scenario or specific space lends itself to a notion of timelessness, or of historical time collapsed into simply the experience of looking at and experiencing a work of art – something one might unashamedly describe as the aesthetic experience. This notion of the material here and now counterpoised by a more expanded sense of place is philosophically, as well as artistically, intriguing. Such an experience is not exclusive to abstract painting of course, as might paradoxically be seen in still-life painting (I am thinking of works by Giorgio Morandi and Peter Dreher) that both acknowledges a social reality and a particular time and place yet exudes a sense of ongoing visual engagement irrespective of the date on the back of the canvas. A kind of meta-reality embedded in paint and its various qualities.

Michelle Cobbin – ‘Atmosphere’ (detail)

In Cobbin’s oeuvre you will find that the landscape is implicit but not essential to identify and in this selection of six works the viewer will travel across the colour spectrum and from dark to light. The titles are generally broad and non-specific, although ‘Bridge’ and ‘In The Top Field’ keep our feet on the ground alongside ‘Atmosphere’, ‘Lament’, ‘Phosphorescence’ and ‘Hidden’.

To start the discussion with Michelle Cobbin I borrowed John Bunker’s first question for Peter Lamb from the new series of ‘Abstraction in the Now’ interviews from Instantloveland“Can you remember the first abstract painting to make a real impression on you?” is a brilliantly simple gambit to open up a deeper conversation that delves into the past to relate to the present, and implicitly the future, in one’s practice.

Michelle Cobbin – ‘Hidden’

Interview with Michelle Cobbin (February/March) 2022

Geoff Hands – Can you remember the first abstract painting to make a real impression on you?

Michelle Cobbin – The first would be Tibetan Mandalas and Thankas that I saw whilst travelling in Nepal in the early 1990s.  If you want a western fine art example it would be the Rothko room of Seagram murals at what we now call Tate Britain in the mid 1990s. I was struck by how much presence they had, how they made me feel melancholic and introspective.

GH – That’s interesting. I recall looking at reproductions of Mandalas in my studio on my degree course (late ‘70s) and being dissuaded by my tutor from doing so as I could not possibly relate to them. He would have been okay with Rothko of course. Your paintings invite a long slow look. A meditative state may not be necessary but I assume that you would like the viewer to take time to contemplate the imagery.

MC – I am interested in how people respond to colour and abstract imagery – I’m interested in how it makes them feel. So this could be an instant instinctual response. But yes, with contemplation the viewer may drop into their body and feel their response more fully. 

Aside from contemplating an image in a meditative way I’m also interested in how abstract imagery and colour has been used to divine insight. For example Rorschach’s Inkblot tests, the Lüscher Colour Test and the Aura Soma system. 

I title my paintings which may lead the viewer to see them in a particular way, but people read images based on their own experiences, likes and dislikes, which goes back to sensory responses again.

GH – You have made and continue to develop several series of paintings, which is a fairly common way of grouping paintings for artists today. Your website is well illustrated with examples from these various series where a viewer can see ‘Transitions’, ‘Gaia’ and ‘Terra Verde’ which relate to landscape experiences, or ‘The Breath’, ‘Semblance’ and ‘Sumptuous Contentment’ which are more specifically yoga and meditation related. I am particularly fascinated, but for different reasons, by the ‘Inscape’ series that summons up memories from East Anglia, with a minimalist Zen Haiku guiding principle, and ‘Kenshō’ which is more programmatically ‘abstract’, with a clear reference to Zen calligraphy. The sense of family history and landscape related impressions from childhood in the former and a more formalist expression of abstract mark making in the latter gives rise to quite stark imagery.

But I wonder if the notion that, if I can reference Neil Young, these “are all one song”, by which I mean that the series titles and subjects might fall away to reveal a process of expression and communication that ties everything together as a record of one voice – in your case a visual and intuitive, feeling sensibility that manifests itself as abstract painting?

MC – Yes, of course my work is ‘all one song’ in some respects. I am interested in keeping things simple both in how the work looks and in making things clear. I know that abstract painting can be difficult to relate to and I think by working in series and titling paintings it goes some way to bridging that difficulty. 

Working in series also gives me boundaries to work within – that might be a particular palette, mood, or conceptual idea. It helps me to focus, but no I’m not suddenly going to start painting people or objects as that would deviate from the message or ‘song’ that I want to convey.  

As you mentioned, I grew up in East Anglia, near the Fens. The ‘Inscape’ series was my internalised and perhaps nostalgic impression of that landscape. It was the first series where I began using a horizon line in my work. I was hesitant about this – blocky colours with a straight-ish line, I was concerned it would scream “Rothko!” Of course his work has been hugely influential upon me. I included lots of little scribbles in the ‘Inscape’ series to begin with, to make the paintings less ‘empty’. It took me a while to have the confidence and to find my way into accepting I’m influenced by but not deriving my work from anyone else.

My forthcoming show, ‘I’d Be Enlightened Now If It Wasn’t For You’, at the Window Gallery, Phoenix Art Space is, if we keep with your musical reference, going to be a Greatest Hits show. I will be selecting works from various series. The criteria will be size. It is such a great window – literally – into Phoenix, and out into Brighton. Personally, I want to use this opportunity to survey how my large canvases sit together and show how, to quote Bob Dylan, I “keep on keeping on…”

GH – I expect that such a selection would work well in a linear type space that necessitates hanging most of the works in a straight line. Not necessarily in a chronological sense but in taking the viewer on a short but visually loaded journey from period to period.

The experiential link to a particular landscape is, to some degree, an historically “English’ trait too. Perhaps, for many painters and viewers the landscape is a way into abstraction?

MC – Yes the show could be a short visual journey. That could be an inward journey provoking an emotional response. I like the idea of colour bathing: standing close to large swathes of colour and noticing what you feel. The arts are a gateway to our emotional life and a way of connecting to other humans. In my case, I do this through paint. I hope viewers are drawn in, intrigued, and perhaps, as you say, the landscape nature of some of the paintings might be a way into abstraction. 

I think that being linked to a landscape experientially is universal. I took a course with psychologist Sharon Blackie on finding and creating myths in one’s contemporary and ancestral landscapes. It has certainly helped me to relate differently to the little bit of downland near to where I live as well as to draw comparisons with the chalk land of East Anglia where I have traced my roots as far back as 1600. None of my ancestors moved outside of a 30-mile radius. This research will underpin my next series of paintings.

GH – Thank you Michelle, there is clearly so much more to contemplate from your broad body of work and I look forward to seeing and experiencing your mini-retrospective at the Phoenix in April, and, at some future date, the following series.

Michelle Cobbin – ‘In the Top Field’ exhibition installation shot (early evening)

Michele Cobbin – ‘Phosphorescence’ in the Canvas Coffee Co. bar at Phoenix Art Space

Links:

Michelle Cobbin – https://www.michellecobbin.art/about-my-work

Instantloveland – https://instantloveland.com/wp/2022/02/10/4891/

Phoenix Art Space –

Peter Dreher – https://fineartruminations.com/2017/04/14/ce-nest-pas-un-verre/

Sharon Blackie – https://sharonblackie.net

JANE CAMPLING: Studio Visit before Time + Place

Jane Campling: Studio Visit for Time + Place at Cameron Contemporary Art, Hove

5 to 20 March 2022

Jane Campling is exhibiting recent paintings at Cameron Contemporary Art in Hove this month alongside the figurative painter, Amy Dury. In preparing a short text for Campling’s section of the catalogue I also extended the word count for these Ruminations as I considered her painting practice.

Jane Campling – ‘Beach Rain’ 2019

Jane Campling is a committed painter. Her practice involves walking, drawing, looking, painting and reflection – both in the South Downs landscape, on the coast or back in her studio at Brighton’s Phoenix Art Space. Intriguingly, when I paid her a studio visit recently she was at pains to stress that she does not identify as a ‘landscape artist’. As a fellow painter with similar interests this made sense to me but we wondered if her audience would. After all, she paints within the landscape tradition. But then painting is, or can be, akin to thinking in action and to invention and to discovering, whatever the subject matter. It’s also intensely physical – including moments of just sitting and pondering in between busy periods of activity. At a simplistic level we can separate walking, drawing and painting quite easily but as a practitioner (and even avoiding the term or label ‘artist’) these various aspects coalesce in lived reality to create a more holistic experience of perception and feeling which can be celebrated and shared through the production of paintings, irrespective of the availability of other media. Looking at the paintings, and some wonderful shorthand-type drawings, on the studio walls felt relevant and contemporary. Just sitting and observing quietly between periods of speculative discussion contained no vestige of painting being obsolete or outmoded.

Jane Campling – ‘Dune’ 2019

Campling makes paintings that can be viewed meditatively and purely for themselves as ‘abstract’ compositions, or with recourse to some vestige of landscape memories, special times and lived experiences from the artist or the viewer. If labels such as ‘landscape’ or ‘abstraction’ serve a purpose for categorisation that is fine, but a worthwhile challenge is to consider the works without these labels to get closer to what they are. It’s difficult for sure, as we have become so accustomed to learning ways of seeing and adopting forms of categorisation. We unavoidably read imagery and visualise from within traditions, but we sometimes need to remind ourselves that conventions can become distorting filters that close down rather than open up seeing clearly.

Jane Campling – ‘Still’ 2021

Campling’s project appears to be celebratory about a subject matter that is both external (ostensibly the landscape) and suggestively internal (the actual, visual/physical outcome that is placed within the rectangle and received in the guise of our own perception and adjudicated by our experiences and preferences). So we might have a sense of the fleeting visual reality of nature from her works, of the sometimes restless moment, and are coaxed into acknowledging the discord as well as the harmony of the physical world. Yet we are paradoxically given a fixed continuum of moments by the amalgam of brush marks, surface qualities and colour choices and relationships. Her work is characterised by a gestural form of shorthand, apparently quick decision-making, and working with the various properties and traits of the paint medium.

Jane Campling – ‘Fields’ 2021

Expertly, Campling knows when (and how) to hold back and not to over apply or to embellish within the painting process. She knows when to start as well as when to stop, employing a subtle expressionism that approaches a cohesive colour/shape minimalism. Surprisingly perhaps, her work is not decorative in the sense of being superficial, but is attractive and engaging nonetheless. Tonal qualities are as important as a clear interest in colour combinations. So too with mark making, whereby the drawn qualities of shape and line might provide contrast or harmony within a composition, especially when the linear content of lines and edges coalesce so well. Layered and woven colour shapes are consistently under control to provide depth and rhythm, so that the viewer’s looking is active.

Jane Campling – ‘Winter Sea I’ 2022

If you are fortunate enough to view Campling’s work in the gallery space or in the privacy of your own home imagine all filters removed. Her work evidences drawing into painting, seamlessly. Time and place as experience is here too, not only her own, but the imagery proactively coaxes the viewer’s memory bank of rural time and place, of the half-remembered scenery from a walk by the sea or even from the fleeting flashes of landscape from car journeys. Despite the unavoidable fixity of artworks made on paper or canvas, we know that time is not immutable but is defined by that unfathomable state of flux and flow. To define or fix would be to diminish the experience itself (which, of course is just another definition to eschew). The challenges of still images that represent in some way this notion of the impermanence of moments seemingly amalgamated and fixed invites reverie so that active looking is required, for the viewer is not a mere receiver. It’s a form of looking, thankfully, without too much effort. You can laugh or cry or just allow pure feeling without overt reaction. You could be elated or disinterested, I guess, for our moods constantly change. Campling’s paintings contain the potential to transform the mundane moment – but consider this experience potential normal and everyday – don’t get hung up on notions of the mystical or metaphysical. After all, the ordinary is extraordinary and visual experiences are preserved and developed by those painters, including Campling, who respond to notions of the contemporary in this digital age by painting even more, for there is something unique and timeless about painting. It’s an act of faith.

Geoff Hands

Copyright © of paintings remains with the artist.

Cameron Contemporary Art image for Time + Place

Links:

Cameron Contemporary Art – https://www.cameroncontemporaryart.com/time-and-place-campling-dury

Jane Campling – https://www.janecampling.com/work/recent-work-asz9b-3ffkd

Amy Duryhttps://www.amydury.com/gallery/timeplace/

Contemporary British Painting Prize 2021

Unit 1 Gallery | Workshop

28 January to 12 February 2022

Exhibition poster with ‘Inflatable’ 2021 by Susan Absolon

“The stated aim of Contemporary British Painting is to explore and promote current painting. The subtext to this is giving voice back to the artist, the originator and source of painting. The real discourse around current painting is generated painter to painter and emanates from the studio and not from the boardrooms of institutions, directors’ offices, lecture halls or galleries. This prize is artists submitting themselves to consideration and selection by their peers.” (Simon Carter, co-founder CBP)

Tony Antrobus‘Narcissistic Wounds’ 2021 oil on board

A woman and her partner are standing in front of ‘A Farmhouse near the Water’s Edge (‘On the Stour’)’ by John Constable. “Does he ask questions?” she reactively inquires. I think it’s a rhetorical question. It’s certainly a gift of a question and I now wonder, was the painting asking questions about subject matter; perception; time; self; the painting process or the fiction of imagery and invented composition? Constable also appears to have gouged his palette knife into the surface of the oil painting and it is an unsettling image. I doubt that the subject matter is merely a farmhouse or a landscape. Paintings have so much to offer and so much potential for interpretation, with endless ground to cover. It’s no wonder they continue to intrigue viewer and maker alike.

What happened (is still happening) within the history of painting? Thousands of years on from the cave painting phenomenon, as Matthew Burrows would remind his audience at the opening of the London leg of the Contemporary British Painting Prize, current practice might point to the fact that many artists believe that the journey continues because painting is so inexhaustible and adaptable. Selected survey shows such as this point to the fact that the painting continuum trundles on, regardless of other media, technologies and contexts that artists employ to make certain points or simply investigate as life choices. But the CBP prize acts as both a celebration of, and a manifesto of sorts, exclusively for painting. The mission statement is, perhaps, understated, as there is no one predominant style, genre or parameter for painting being proclaimed – although an exploration and promotion of current trends in British painting, especially from the community of the painters rather than the gatekeepers, is paramount.

Martyna Lebryk‘Sirens’ and ‘Three riders of my fate’ (each 2021, oil and oil pastel on paper)

Before arriving for the Contemporary British Painting Prize 2021 – which consists of a selection of 15 artists’ work made by Unit 1 Director Stacie McCormick who had visited the prize show at Huddersfield Art Gallery a few weeks back – I had finally got around to jumping on a train, adorned with a facemask, to see a few London shows. The exhibition batteries had been running low, so the CBP show was ideal to touch base with some contemporary works and to see a few friendly faces.  Beforehand, experiencing the Late Constable exhibition at the RA was bound to impress and, so too, was the Georges Braque show, The Poetry of Things, at the Bernard Jacobson Gallery that had fortuitously been extended to this very day. Both prestigious exhibitions might have overshadowed seeing anything else that day but it is always necessary, I believe, to put status aside when viewing the works of contemporary painters, otherwise there is a danger of being disrespectful to the endeavours of such an extraordinary community.

Sarah Poots‘Temporary Sculptures’ 2021 oil on canvas

The Unit 1 space had allowed for a selection of 27 works, including a small triptych set, depicting ‘Temporary Sculptures’ by Sarah Poots, without either being jam-packed or leaving acres of wall space empty. Arriving before the many visitors for the opening there was ample room to step back or to go in closer, particularly for the smaller and finely rendered paintings by Daisy Richardson. None of the paintings were inappropriately combined, which was testament to the careful hanging decisions. Some works were obvious to display together if by the same artist, such as Martyna Lebryk’s pair of drawing-type paintings on paper; Bill Stewart’s two commanding canvases and Jesse Leroy-Smith’s three compelling portraits. Other exhibitors had their respective works such as Gary Spratt, Tom Robinson, Zack Thorne and Donna Mclean interspersed with others, which enabled an overall cohesiveness to the selection and hang that clearly attempted to celebrate every participant rather than any one in particular. So, even the winner of the 2021 Prize, Susan Absolon, had her three works split into a small pair and one relatively large work, ‘Dugout’ intriguingly placed between Zac Thorne’s ‘The End Part XI’, a tight figurative work and Tom Robinson’s ‘Telmah’, one of the most painterly and abstract in the show. More object-oriented works came from Christina Niederberger (with a strong mimetic textile vibe) and Roland Hicks (constructivist, non-objective, found object become painting), whilst Tony Antrobus, Jan Valik, and Highly Commended Award winner Hannah Murgatroyd (with just about the largest canvas – ‘Night Mapping’ at 130x150cm on show), had just one canvas selected each, which perhaps left one wanting more.

Installation at Unit 1 with Thorne, Absolon and Robinson paintings
Hannah Murgatroyd ‘Night Mapping’ 2021 oil on canvas and Jesse Leroy-Smith‘Father Figure’, ‘Blowback’ and ‘Creator – Tricky’ (each 2021 oil on panel)

Picking out any one or two participants as favourites seems unfair in the context of this exhibition, though inevitably one will gravitate towards preferred visual languages or subject matter (though as an abstract painter I found myself gravitating towards Mclean’s ‘Cloud’ and Leroy-Smith’s portraits throughout the evening – yet still felt compelled to sneak of with Antrobus’ ‘Narcissistic Wounds’ that took a while to grow on me). The recommended approach to ingesting the show is to enjoy and be intrigued by this celebration of British painting. There is no overriding theme. Search for a subject if you wish, but do not establish a territory of preference. If works are resolved still see painting, generally, in a state of becoming and development, not only for the individual artists, but also for painting as an ongoing project.

Bill Stewart‘Oklahoma’ and ‘TheDancingTreesOfYellowstoneAnthemStandingVibrationWyoming’ (both 2021, oil on canvas)

The catalogue for the aforementioned Braque show added poignancy to the day as it contains what I believe to be art historian, Mel Gooding’s final essay. In the last paragraph he writes of Braque’s nature morte paintings: 

“They are real, indeed, but their actuality is within the painting. They give the mind a reality to contemplate, one that doesn’t and couldn’t exist elsewhere: only here…”

If there are relevant contemporary narratives in British painting emerging post-Brexit they seem to be about time and place; history and self; inside and outside. But it is still too early to see, I suspect. There has to be an argument for painting though, best developed from the studios of the dedicated practitioners who live in every town and community on this tiny little island. The selected work supports this cause for we are all on the same side, even if we disagree or appear to live in different realities sometimes.

Jan Valik‘It’s About Time’ 2021 oil on linen
Gary Spratt‘Odd Legs’ 2021 oil on canvas
Donna Mclean – ‘Sarah Lund’ 2019-20 oil on canvas
Christina Niederberger‘Revue (after de Kooning)’ 2018 oil on canvas
Zack Thorne‘The End Part IV’ 2020 oil on canvas
Tom Robinson‘Telmah’ 2021 oil on panel
Daisy Richardson‘Rutilation (DOMESTIC)’ 2021; ‘Tourmalination’ 2021; ‘Rag and Bone’ 2020 (each oil unprimed paper)
Roland HicksTriple Zip Board Chord’ and ‘Blueshady’, both 2021 (acrylic and acrylic gouache on shaped MDF panel)
Huddersfield exhibition poster with ‘Blowback’ 2021 by Jesse Leroy-Smith

Copyright © of paintings remains with the artist.

Links:

Unit 1 – https://unit1gallery-workshop.com/contemporary-british-painting-2021/

Contemporary British Painting – https://www.contemporarybritishpainting.com

Mel Gooding – https://www.theguardian.com/books/2021/oct/03/mel-gooding-obituary

Bernard Jacobson Gallery – https://www.jacobsongallery.com/georges-braque-catalogue

PERDITA SINCLAIR: Small Towns

Window Gallery, Phoenix Art Space

15 January – 20 February 2022

Phoenix Art Space entrance (Photo: Bernard G Mills)

Visitors will surely be intrigued by the spectacle of the colourful, carefully and skilfully painted oil paintings that join together under the title of Small Towns, an exhibition from Phoenix Art Space member, Perdita Sinclair. Usefully there are chairs spaced along the broad corridor that encourage people to sit and take stock too. Paintings (especially good ones) deserve prolonged attention rather than the perfunctory or passing glance.

A sequence of eight canvases begins with ‘Pineapple’, which at 165x125cm is the largest work on display. The title is suggestive rather than descriptive as it could just as well allude to a portrait as much as an exotic fruit. But more about titles and interpretations later, for what we do see before us is a figurative painting of a mound of litmus-test-type strips of variously coloured papers. Or are these tickertape off-cuts from the studio floor? They look like discarded fragments purposely gathered together and fashioned into something specific but just out of reach of a clear identity.  Also, it’s an inventory of sorts, as if a student painting class has completed a day of mixing colours and these are the results, a fairly comprehensive range of all six primary and secondary colours plus black and white. As an extension to the task of mixing the paints perhaps a still-life has been produced wherein the painted shadows form greys and other tonal varieties of the colours. There are some striped pieces too, including red and white that might be paper bags from a sweet shop. As interpretation creeps into observation of the image one might sense that the coloured papers are hiding something. It might be a pineapple, as the title implies, or a vertically held up thumb or even a portrait of sorts. Is the title a trick? Is our humour being tested? Has the artist literally set something up for the viewer to interpret as they wish?

Perdita Sinclair – ‘Pineapple’ (165x125cm) oil on canvas

Seven more paintings are to follow and questions persist. Each is clearly an original statement but all link somehow. Colour pervades, as does clarity of form and skilful rendering. Are these portraits or still-lifes? Do the generally blue/grey backgrounds suggest skies, distances, neutral space? Are these singular forms still or floating in space? There is no clear external context in the paintings; all content is essentially contained within the implied forms. But let’s not forget the artist and/or the viewer. Could these be self-portraits or mirrors – or both?

Perdita Sinclair – ‘One In Hundreds and Thousands’ (80x60cm) oil on canvas

If the viewer takes in the whole sequence from left to right there is some suggestion of a progression, or morphing, from a still-life type configuration to a portrait of sorts. After ‘Pineapple’, ‘One in a Hundreds and Thousands‘ appears to be a form floating in a sky-coloured atmospheric space. Within and around what might be locks of long flowing hair there are triangles of painted papers or thin card. Some of these fragments are painterly wet into wet renderings that could reference landscape based fragments or abstract compositions. The striped papers are here too. There is a sense of the organic and the geometric making some kind of union. Next, in ‘Along the Coast from Yarmouth’ a similar sort of composite form has come back to earth, or rather an ethereal sea with reflections or submerged forms.

Perdita Sinclair – ‘Along The Coast from Yarmouth’ (80x60cm) oil on canvas

A mixture of flat triangular forms, mostly airborne, and flat on the picture plane slightly undermines a traditional perspectival reading. Predominantly there is a shallow or tightly enclosed space created from the spatial arrangement of the entangled forms in the foreground. A snaking red, blue, yellow and white candy stick at the apex of the arrangement meanders down to, or up from, the base. It is also partly submerged. Likewise, the tricolour ribbon also winds its way from the bottom of the composition to the apex. An echo or reflexion of the red, white and blue form is placed behind this mysterious configuration to suggest some depth and a flattening simultaneously. Solidly rendered, yet flat triangles (X7 white, X5 red, X2 blue and X1 black – for it seems pertinent to count them) float around or penetrate the central mass/form. Unexpectedly, centre-left, a curvaceous form that might be fish or snake skin, or possibly a hand-dyed scarf on a slender shoulder, links top to bottom or head to torso.

‘Inbetween Castles’ is more grounded, and candy-type tubes employing the colours from the paper stripes from ‘Pineapple’ replace the vertical, elongated form of the hair. A flat triangle of colour at the apex of the form is possibly turning into a set-square. Read this more organically and the soft sticks of seaside rock might otherwise suggest intestines. It’s uncanny – by which I mean weird. But not grotesque or creepy weird; more like playful everyday, ordinary, artefacts being open to interpretation and association in the eye of the beholder.

Perdita Sinclair – ‘Inbetween Castles’ (80x60cm) oil on canvas

‘Lickerty Split’, the penultimate image in the sequence certainly does look like a glorious head of long hair. The title suggests doing something quickly, though clearly not the making of the painting. Take a look at Sinclair’s website and you will see that this painting, along with ‘Baskin in Obliquity’ displayed next to it, belongs to her Wave Theory series. Sinclair’s painting titles are fascinating. There is a mixture of deadpan humour and scientific awareness – as provided by this pairing. Natural forces are at work. The small town reference starts to make some kind of sense. Whether we live in a village, town or city we belong to relatively small communities after all.

Perdita Sinclair – ‘Lickerty Split’ (80x60cm) oil on canvas

This selection from Sinclair’s various series of painting themes and projects (she has also produced sculpture and installation events) not only provides evidence of her undoubted commitment to painting but also prompts an intriguing meditation and reflection on what we think and feel about ourselves and our immediate familial situations and the world around us. A brief explanatory wall mounted statement adjacent to ‘Pineapple’, primes and sets up an opportunity for the viewer to see where the imagery might take their expanded thoughts:

My work reflects what I perceive as the dichotomy between the way the human mind confronts complex and serious issues and, at the same time, deals with the trivial ephemera of our everyday lives. I am interested in contradictions and tensions in human nature, which often express themselves through our interaction with the natural world.

Small Towns is an exploration of life cycles within confined spaces. The work is inspired by the geographical restraints that we have lived with which paradoxically turbo charge the mind into thinking about distance, difference and alternate realities. (Perdita Sinclair)

Thereafter the viewer is surely connected with each work beyond the immediate visual impact of the intriguingly titled pictures. As much as we might long for the day that we can forget about the ongoing pandemic that has restricted us physically and geographically, an unexpected benefit might be that we start to appreciate and more fully understand our truly global ecosystem that relies on cooperation rather than unabated competition and nationalistic introspection. Or at the very least, we might take what is near as a fascinating take off point for the imagination. For Sinclair it might be the trivial bits and pieces that one’s children might play with vis-à-vis the bigger issues that concern us.. This is an interpretation of superposition (another of her series of paintings) in which something (or a system) can be in multiple states at the same time until it is measured. It’s certainly the case that if we take the suggestion of the portrait from these paintings we must ultimately place the notion of self or identity within an environment, which can be either physical or metaphysical… but perhaps this is a step too far.

Perdita Sinclair – ‘The Infinite Gobstopper’ (80x60cm) (Photo: Bernard G Mills)

Returning to Sinclair’s work, she does not break with tradition to assert contemporary relevance and context. Despite alternative practices and technologies, painting has much more to say or remind the audience of. At a simple level, subject matter generally splits into and expands the categories of the portrait, still-life or landscape – with, arguably, the addition of abstract art. At a more nuanced and deeper level paintings perform (even when undermining or questioning) within conventions of visual culture, including iconography, aesthetics and culturally shared systems of visual language. Of course, within and beyond the visual arts painting also has to contend with ever developing technologies, particularly since the invention of photography and, far more recently, digital systems and the financially speculative advent of the NFT. But painting persists and potentially slows us down, in a useful self-reflective way.

Walking home from the exhibition, in my own small town, I unexpectedly thought of the work of the 16th century Milanese painter Giuseppe Arcimboldo, a Mannerist artist, who created portraits from a piling up of natural forms, especially flora, vegetables and fruits. The ‘Arcimboldo palindrome’ may also be suggested, whereby the apparent reading of a work is changed, not by turning the canvas through 90 or 180 degrees as the artist ingeniously invented, but by alternative conceptual readings and understandings of an imaginative invention, or inventory, as presented by Sinclair’s work. Intriguing, indeed.

Perdita Sinclair – ‘Baskin in Obliquity’ and ‘Lickerty Split’ (Photo: Bernard G Mills)

Copyright © of paintings remain with Perdita Sinclair (all are oil on canvas)

Installation images are copyright © 2022 Bernard G Mills. All rights reserved.

Links:

Perdita Sinclair – https://www.perditasinclair.com

Phoenix Art Space – https://www.phoenixbrighton.org/Events/perdita-sinclair-small-towns/

Giuseppe Arcimboldo – https://www.theartstory.org/artist/arcimboldo-giuseppe/

Also see –

Perdita Sinclair interview in The Organ – https://organthing.com/2022/01/17/13-questions-from-organ-perdita-sinclairs-paintings-are-alive-with-appeal-with-deceptively-soft-ice-creamy-colour-theres-an-undertone-though/