Tag Archives: Ruairiadh O’Connell

Something Old, Something New, Five Exhibitions and Some Shoes

16 Dec

The thing I discovered when doing my gallery crawls is you need to be selective.  Deviate from your list and you’ll never leave the first street so I decided on this route and, with quite a tight time frame, I knew I had to stick to it.

Josh Lilley are currently showing a group exhibition with Analia Saban, Belen Rodriguez Gonzalez, Christof Mascher, Gabriel Hartley, Marita Fraser, Nicholas Hatfull, Nick Goss, Robert Pratt and Ruairiadh O’Connell.  There will be no surprises when I tell you this is another beautiful show – particularly notable is Robert Pratt’s Display Unit which grabs you as soon as you walk through the door.  The seemingly precariously placed pieces of clay on the display unit are Pratt’s body parts, positioned at the correct height, in proportion to his own body.

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Robert Pratt, Display Unit (Pieces of a Man), 2012. Image via www.joshlilleygallery.com

The show gets even better as you go downstairs with works erupting from the ceiling that provide immediate visual impact.  It’s particularly lovely to see a selection of Goss works on paper after his recent solo show which included his more monumental paintings.  Although many of the works in the exhibition have obvious connections through materiality, process, colour, form, expressiveness and so on, Lilley has not attempted to impose a specific theme here which is quite refreshing.  Instead, the gallery has aimed to bring together certain artists – many of whom studied together or have maintained friendships over the years.  Through this, new and unexpected dialogues are initiated and connections made.

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Downstairs at Josh Lilley with Ruairiadh O’Connell’s work in the foreground.  Image via www.joshlilleygallery.com

Next up was Blain Southern.  Sadly, I missed their opening show so this was my first visit to their new Hanover Square gallery – it’s a beautiful, glass-fronted, space, with a very traditional white box aesthetic.  Their current exhibition is Francesco Clemente’s Mandala for Crusoe.

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Clemente at Blain Southern.  Own photograph.

For Clemente’s first show in seven years, they are exhibiting fourteen large-scale paintings, using raw linen, paint, verdigris, silver pigment, mica, oil sticks and lithographic ink, which gather myriad cultural references and merge timeless motifs from Buddhism and Hinduism.   In Eastern spiritual traditions, the mandala is identified as a conduit to a deeper level of consciousness.  Yet, Clemente uses the mandala in unexpected ways uniting it with the banality of everyday life.

One of the strongest works for me was The Dove of War where the dove, a symbol of peace, filled with silhouettes of planes and bombs, flies through a tinged pink sky.  Clemente divides his time between New York and India, feeling a nomadic affinity with the completive visual tradition of both the East and the West and this is clearly brought out in his works.  Not all of the images, however, have the same strength; the choice of imagery isn’t the most exciting and it is sometimes quite crudely applied.

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Francesco Clemente, The dove of war, 2012. Own photograph.

In contrast, I popped into Gimpel Fils to see Richard Smith’s kite paintings.  Smith has long been interested in paintings which work in three dimensions, having created kite works since the early 1970s.  The kite paintings are so successful partly due to their contrasts – the hard poles and the soft canvas, the string and the rope – and meticulous finish.  Known for emphasising the importance of shape, support, colour and surface, these works focus on the physical constitution of painting.  The tenser and more exaggerated they are, the more I find myself enjoying them.

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Kite paintings at gimpel fils. Own photograph.

I strolled round the corner, past the currently closed Gagosian Davies Street and headed to Timothy Taylor, resisting the temptation to walk further down Mount Street to see what Christian Louboutin had in store.

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Louboutin’s Christmas shoe tree.  Image via http://theexhibitionlist.wordpress.com/

Their latest exhibition presents new work by Lucy Williams who has redefined the concept of collage through her mixed media bas-reliefs of unpopulated mid-century Modernist architecture.   It’s difficult to decide if these works are sculptures or collages or even how they are made.  They look so simple but I have no doubt they are ridiculously complex to execute due to the high level of detail and finish.  Williams starts by creating a technical drawing that can take several drafts to get right.  She then picks her materials and starts to build her layers, one on top of each other.  It’s the geometry of the buildings that interests her most and, from a distance, it is the modular structure of her pieces and the predominant patterns that stand out.

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Lucy Williams, the tiled cathedral, 2012. Own photograph.

Although hints of activity can be seen behind closed curtains, the works are always unpopulated.  People could return at any moment but, instead, we are allowed to explore these miniature and obsessively realised worlds in an oasis of calm.  The works are presented on architectural supports, providing the perfect context and framework for these beautiful pieces.

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Pavilion at Timothy Taylor Gallery. Own photograph.

My final stop of the day was the Royal Academy for Constable, Gainsborough, Turner and the Making of Landscape.  This show particularly appeals to me as walking through its doors was like re-entering my Masters – some Sandby watercolours brought back very vivid memories indeed.  The exhibition looks at the formation of landscape painting through John Constable, Thomas Gainsborough and JMW Turner, highlighting the discourses surrounding the Beautiful, the Sublime (mainly Burke this time round) and the Picturesque (championed by William Gilpin) and looking at the changing styles of landscape.  The works by the three key figures are contextualised with paintings by their 18th century counterparts and prints made after 17th century Masters, showing the roots of the tradition which comes from the Carracci brothers, Nicolas Poussin, Salvator Rosa and Lorraine Gaspard Dughet.  They used landscape to inform the drama in their subjects and this was important in shaping what we see in this exhibition.

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Paul Sandby, Wenlock Abbey, Shropshire, The South Transept and Converted Prior’s Lodge Seen from the North Transept, 1779.  Image via www.racollection.org.uk

And, of course, there’s Richard Wilson, often regarded as the father of British landscape, who introduced an aesthetic scaffolding that encouraged a particular view with framing devices to send the viewer’s eye to the subject and referenced the landscape as a useful and enterprising place.

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After Richard Wilson, Engraved by Joseph Wood, The Lake of Nemi, 1764. Image via www.racollection.org.uk

Looking at the shift from the idealised view of the landscape, to a celebration of the particular, imbued with ideas of morals and emotions, the works here show the discovery of the landscape of the British Isles and a move away from the Grand Tour imagery that was so popular.  Specificity of landscape was very important to these artists all of whom took meticulous sketch notes.

The exhibition has been put together in a wonderfully engaging way – the first room looks at the work of Richard Long, Norman Ackroyd, Michael Kenny and John Maine showing the lasting legacy of the three artists on which the show focuses.  This offers a fascinating framework through which to see the exhibition and I hope will quash any silly comments that landscape is boring.  After this bold start, the exhibition continues more as one would expect, charting the progression of landscape and introducing its key themes.

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Richard Long, Heaven and Earth, 2001. Image via http://azurebumble.wordpress.com

Perhaps, most importantly, the exhibition looks at the significance of printmaking in popularising and disseminating the genre.  It does rely heavily on prints but this is certainly a positive thing as it’s rare to see so many excellent works on paper together.  For this reason though, it can sometimes seem quite gloomy – but there’s no choice as these works require low light levels and the walls have been painted to show off the paper (drawings and prints) rather than the canvases.

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Thomas Gainsborough, Romantic Landscape, 1783.  Image via www.telegraph.co.uk

I am deliberately not writing anymore as otherwise I fear I will be at risk of regurgitating my MA.  But, the joy of this exhibition is that it informs so well and specifically that I would urge you to go and learn about the period for yourself.  The RA has not produced a catalogue for this which is a great shame.  Instead, they’ve produced a lovely small exhibition guide that takes the format of their normal student guides.

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John Constable, The Leaping Horse, 1825. Image via www.royalacademy.org.uk

The show is displayed in the Fine Rooms and the Weston Rooms which we’re not so used to but it certainly makes a change.  The big names will no doubt pull in the punters (it’s worth visiting just to see the popular oils that appear later in the show) but this exhibition is so much more than a 19th century blockbuster and many of the works are a rare delight.  It follows the evolution of the tradition of British landscape through 120 works all of which have been sourced from the RA’s own impressive collections.  This is the first Burlington House show to do this in 50 years and illustrates the veritable treasure trove they house.  I’d love to get down there to see the rest.

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Something New is at Josh Lilley Gallery until 10th January 2013, www.joshlilleygallery.com.   Francesco Clemente: Mandala for Crusoe is at Blain Southern until 26th January 2013, www.blainsouthern.com.  Richard Smith: Kite Paintings is at gimpel fils until 12th January 2013, www.gimpelfils.com.  Lucy Williams: Pavilion is at Timothy Taylor Gallery until 11th January 2013, www.timothytaylorgallery.comConstable, Gainsborough, Turner and the Making of Landscape is at the Royal Academy until 17th February 2013, www.royalacademy.org.uk.

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Spiked on the way to Vegas

8 Sep

Wednesday was one of those amazing late summer days and I managed to arrange my meetings at Aqua for most of the afternoon – the sunniest spot in town – which meant I was perfectly placed for cocktail hour.

Aqua on Argyll Street.  Image via www.cntraveller.com

When the sun started to set and there was no more basking to be done, I headed up the road to Dering Street for the Ronchini Gallery’s latest exhibition.  TIME, after TIME explores similarities between generations of artists, featuring a range of contemporary Americans alongside Italian artists from the 1950s, 60s and 70s including Michelangelo Pistoletto, Alighiero Boetti and Alberto Burri.  Many young American artists have been influenced by Italian movements and consciously, or subconsciously, reference Arte Povera in their works.

TIME, after TIME at Ronchini Gallery. Own photograph.

Individually some of the works are fantastic.  Some, however, are not.  The concept of the exhibition is clever and it may well be more effective when the gallery is empty.  The curation does draw intriguing parallels between seemingly contrasting pieces and the juxtapositions are provocative.

But when the gallery was busy during the private view, the exhibition became somewhat lost and messy.

TIME, after TIME at Ronchini Gallery. Own photograph.

Continuing with this Arte Povera theme, next on our list was Haunch of Venison’s latest Giuseppe Penone exhibition.  Haunch had a Penone exhibition at their old Burlington Gardens gallery last summer.  This one presents a range of new drawings – works on paper have always been central to Penone’s work and, whether as independent works or preliminary pieces, his drawings are all connected by ideas of touch, surface and growth.  Penone compares the act of drawing to the growth of a tree and he uses his fingerprints to represent the tree and to create a symbol of touch.  By pressing a single thumbprint onto the paper he creates marks that recall the age rings of a tree.

Giuseppe Penone at Haunch of Venison on Eastcastle Street. Own photograph.

The exhibition also includes one sculpture Un anno di cera ricopre lo spazio di luce (One year of wax covers the space of light) which shows a hollow tree trunk.  The work relates to Penone’s new commission which is currently on show at the Whitechapel Gallery (I’ve yet to visit) – a hollow inverted tree lined with gold, its surface covered with a layer of the artists fingerprints.

I like Penone’s work but I wasn’t blown away by this exhibition.  This has been a common problem of late, not just at Haunch and not just for me.  There are far too many exhibitions that don’t quite go far enough to make their mark and, although they include some great works, aren’t memorable for the right reasons.  The Giuseppe Penone exhibition can seem a little bland on first viewing but it did grow on me the more time I spent in the gallery.  I find his drawings are more engaging when seen alongside his sculpture but the limited space makes this impossible.

The gallery has been turned into one main space with a very narrow section at the end for this exhibition, a layout that is particularly effective for this show and really increases the feeling of movement around the gallery.

Giuseppe Penone at Haunch of Venison on Eastcastle Street. Own photograph.

Although the sun had gone, it was still hot and my shoes weren’t the best choice for such weather.  Now, you’ve all heard of people having injuries from wearing silly shoes –blisters, twisted ankles and the like but I can beat all of them.  These shoes can only be described as weapons.  I have always walked with my ankles close together – it’s elegant, especially when wearing a dress and because I’m a tango dancer it’s second nature; it has been drilled into me that your ankles should brush past each other at every step.  So, as I sashayed down the street, I forgot about my footwear and as my ankles gracefully brushed past each other, the spikes from my heels hit skin and I managed to spike myself.  I don’t think many people can say they have gashed open their ankles due to the killer bits sticking out of their shoes.

So after wiping the blood from my feet, we wandered (slowly!) to the last gallery on my list which was the Josh Lilley Gallery.  I’m sad to say I’ve missed a couple of their recent exhibitions but I’m glad I made it to this one as it was easily the highlight of my night.

Hang Up at Josh Lilley Gallery.  Image via www.joshlilleygallery.com

Hang Up is a group exhibition where the works blend so seamlessly together, discussing the potential of materiality, that you’d be forgiven for thinking this was a solo show – OK, maybe that’s a slight exaggeration but it gives you an idea of the purity of the hang.  That is the curatorial talent that Lilley has in bringing together artists; there are no uncomfortable pairings here but this is another beautifully curated show, exploring how the use of fabric, pattern and traditional designs allow for an engagement with each artist’s cultural, political, economic and conceptual process.

Hang Up at Josh Lilley Gallery.  Image via www.joshlilleygallery.com

Hang Up¸ the exhibition’s title, comes from a seminal work by Eva Hesse where by attaching a long metal rod to a canvas she transformed a painting into a sculpture.  This is recalled in the works upstairs where Liam Everett makes use of non-traditional processes with such materials as salt, alcohol, lemon and sunlight in order to force changes onto his surfaces.  The works are supported in non-traditional ways using leaning poplar beams and other such devices.

Liam Everett’s works at Josh Lilley Gallery.  Image via www.joshlilleygallery.com

Ellen Lesperance uses gouache and graphite on tea-stained paper to depict motifs that highlight power struggles and women’s rights.  Her works become odes to those who use fabric and design as a means of self-expression and liberation.  The two paintings here, shown alongside a knitted work, depict sweater patterns that function as memorials to individuals committed to fighting for causes greater than themselves.  Not only are the works perfectly executed but they are very moving and emotive.

Work by Ellen Lesperance. Own photograph.

The textures of Ruairiadh O’Connell’s works draw us in closer, using images of carpet designs from the biggest casinos in Vegas, laying them as silkscreen images onto wax-filled steel panels.  He kneads and manipulates the wax before it sets, recalling the techniques used by masseurs in casino complexes to relax visitors in order that they spend more money.

Ruairiadh O’Connell’s wax works downstairs at Josh Lilley Gallery. Own photograph.

Josh Lilley never disappoints and this is one of his most striking exhibitions to date.  It was time for dinner and as our reservation at Brasserie Zédel wasn’t for another hour or so we headed to their Bar Américain.  It was like stepping into another world, into Vegas – or maybe that was the influence of O’Connell!

TIME, after TIME is at Ronchini Gallery until 4th October 2012, www.ronchinigallery.comGiuseppe Penone is at Haunch of Venison on Eastcastle Street until 6th October 2012, www.haunchofvenison.comHang Up is at Josh Lilley Gallery until 5th October 2012, www.joshlilleygallery.com.

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