From Stella to Champagne: Haunch of Venison and PAD

10 Oct

Haunch always has a multitude of exhibitions on show.  In their Burlington Gardens’ space is showing three different exhibitions: the sensuous curved linear sculptures of Bae Sehwa’s wooden Steam Series, Ascent by Edward Barber and Jay Osgerby (the designers of the Olympic Torch for the 2012 Olympics) and, the main attraction, Connections by Frank Stella.

Ascent in the Mezzanine Gallery at Haunch. Own photograph.

Now, I will confess that I’m not the hugest Stella fan.  They’re obviously great works of art from a magnificent artist but they aren’t quite my thing.  They don’t move me although I feel they should.  In fact, I wish they would.

Regardless of my personal aesthetic taste, Connections  is a beautifully presented and clear show.  Aiming to examine Stella’s entire career in a mini-retrospective, Haunch presents his work in themes (openings, surfaces, working space, colour and narratives) rather than chronologically. This is a clever, curatorial decision that avoids any dips in Stella’s career, instead creating a concise and sensibly thought out study of his oeuvre.

As soon as you walk in to the gallery, two of Stella’s newest works dominate the downstairs hall: one a stainless steel piece, the other a polychrome resin work.  They give you a taste of what is to come.

Frank Stella, Djaoek, 2004. Own photograph.

The exhibition upstairs opens with his huge, familiar abstract expressionist paintings, including his black paintings of the ’50s. But these aren’t just black.  Even in them, Stella magically manages to explore the boundaries of colour.  Colour is a main theme of all his works and this later enhances the fact that he transcends the boundaries between painting and sculpture.  His wall-based works are so sculptural that we want to peer behind the multi-faceted sections and explore the works as a whole.   They are beautifully lit to make the shadows themselves interact with the sculptural forms on the walls.

Frank Stella at Haunch. Own photograph.

You never really know where you stand with Stella’s works which is part of the fun.  His concerns with planes and surfaces, space and relief and colour and movement become profoundly apparent across this show as one gets lost inside the cyber-dimensions of his giant canvases.

Frank Stella at Haunch. Own photograph.

Smaller rooms of Stella’s working drawings are made to feel more intimate due to successful curation and this set up allows us to better understand his processes.  The exhibition also includes his working maquettes that help us to see how his paintings are formed, forcing us to look at the process rather than merely the finished object.

It’s a busy week and I had to hurry.  The opening night of PAD beckoned and I can tell you that some of the best art in London is to be found this week amidst the trees of Berkeley Square.   You might even spot a nightingale but you’d be hard pressed to hear it over the clinking of champagne flutes.

Frank Stella: Connections and Edward Barber and Jay Osgerby: Ascent are both at Haunch of Venison, Burlington Gardens until 19th November 2011, www.haunchofvenison.com.  The Pavilion of Art and Design is in Berkeley Square until 16th October 2011, www.padlondon.net.

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