Archive | July, 2016

A conversation at the Black Shed

19 Jul

I had been aware for some time that there was a contemporary art gallery near Robertsbridge; friends have recommended it; I follow it on Twitter; fellow MA student Jenny Edbroke, whose work I wrote about in July 2015, exhibited there last summer; Susan Fynes who graduated this summer, see last week’s post, is to exhibit there soon. I had even thought I had noticed a discreet sign to it on the A21. But Robertsbridge is about half an hour’s drive away, not a particularly onerous journey admittedly, but still not next door. So, it was not until a couple of days ago that I finally decided to investigate. I ignored the Robertsbridge turning, found that I had been right about the sign and drove up narrow country lanes and finally arrived at what looked at first sight like a group of farmyard buildings. All most improbable.

What is perhaps even more improbable, as many people dream of starting a gallery, is that owner and director Kenton Lowe has clearly made it a huge success. His eye for interesting and collectable artists mean that buyers are prepared to make the journey to find London quality work in the heart of the country. Look up Black Shed on a map and the red place marker is in the middle of sea of green, but the number of red dots on the corners of paintings, suggest that those who come keep their credit cards at the ready.

The current exhibition was certainly worth the drive. Artists Bent Holstein and Alan Rankle are described as having a conversation about landscape painting. I am not usually convinced by this idea of a conversation between artists. Too often it is used loosely to justify grouping together people who have only the most tenuous links. In this case I really felt it worked; the approaches were very different yet there was a genuine connection; the colour palettes of the two artists complemented each other. While Danish artist Holstein had a more abstract style, Rankle’s work also included an abstract element. Indeed, you could imagine the paintings discussing the place of abstraction.

Before going I was not acquainted with either artist. At first it was Holstein’s work which attracted my attention. I liked the subtle tones and the gentle impressionistic style that takes you into his mysterious landscapes so that you imagine more than you can actually see.

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Bent Holstein: As if standing on Fishes Blue 2016

But as I looked round the exhibition, it was the works of Rankle that grew on me. When commentators talk about works being semi abstract they normally mean that you can kind of make out what it is that the artist is painting. Indeed I would have described Holstein’s works as being just that.

Many of Rankle’s paintings are semi abstract in a completely different way. In part they are very precise;  in his working of trees, he reminded me of Constable. Originally educated at Goldsmiths, it turns out that he had gone on to study classical techniques, particularly the Dutch Old Masters. So here you can have a tree as well-painted as as the most ardent fans of realism could desire; you can make out the leaves; if you are good at that kind of thing, you could identify the species. But in the piece below you also have the bold splash of yellow providing mood and emotion. The two elements could almost have come from different paintings but Rankle’s skill is demonstrated by the fact that they worked as one.

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Alan Rankle: Enigma Patricia Kalitzca + the Object

Contemporary art should challenge our ideas and see help us to see things afresh. If my first reaction to these unexpected explosions of paint was “I’m not sure about that”,  it quickly gave way to admiration and wanting to see more.

The Black Shed Gallery   is open on from Tuesday to Friday 10.00 am-4.00 pm and on Saturdays 10 am to 4.30 pm.

Great space: great show – MA students suceed at Brighton

12 Jul

Jealousy is to be deplored  but I couldn’t help feeling a twinge to see the space that this year’s MA graduates at the University of Brighton had been allocated to show their work. There was a whole new exhibition area devoted to sculpture and the downstairs gallery was not interrupted by partitions as it has been when I was showing a year ago. This year the works had room to breathe and the graduating students made the very best of it. It was interesting to see how those who were first  years in 2014-15 had developed and it was also fascinating to see works from people whom I did not know, who had decided to go for the gruelling route of taking an MA in just a year.  In a varied and imaginative show here are a few of the pieces that caught my eye.

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Kyunmin Kim: Traces of Time

I was particularly impressed by this work by full timer Kyunmin Kim, Traces of Time in the downstairs gallery,  it is beautifully embroidered, not on fabric but on wire mesh, which is torn in the middle. Writing about the work Kyuhmin explained that “even memories become faint with traces of time. The memory is still alive and is ready to come up to us at any time.“The statement seems a contradiction but then maybe that is the point of the work – the gaps in memory and the unexpected recall.

Doreen Munro started the MA at the same time as me but had a year out for family reasons. That year appears to have served her well.

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Doreen Munro

I remember that Munro’s work often featured pieces being wrapped, or in some way concealed, but none, I felt,  had worked as successfully as the juxtaposition of the corrugated iron and the paper in this piece here. The newness, crispness and fragility of the paper was the perfect foil to the rusting iron.

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Ruijong Hang: Non Linear Existence

Ruijing Hang another full timer’s work is hard to photograph; Non Linear Existence is constructed from white paint on clear acrylic. I particularly enjoyed its lyricism and dream-like quality. Among many showier pieces it demonstrated a quiet authority.

In marked contrast to Ruijing’s restraint was this playful piece by Yanting Li , You In. It was the first work I noticed on entering the sculpture exhibition and the humour and colour were particularly appealing

 

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Yanting Li: You In

Caleb Madden’s works are hard to miss as his sound sculptures permeate both the main exhibition hall and performances in the sculpture exhibition. I particularly enjoyed Hot Fizz an ingenious work in which a bag of water was allowed to drip onto  a hot cooking hob making a satisfying hiss every time it did so, the sound of which was then amplified so that you did not at first understand its origins.

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Caleb Madden: Hot Fizz

Among many excellent paintings I like this little one by Tori Day of a gimlet. Day specialises in celebrating common objects which might otherwise go unnoticed. It is painted on piece of 19th century floorboard. I liked the cleverness of the painted nails holding the painted paper on which the gimlet rests.

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Tori Day: Gimlet

Susan Fynes polished and intricate geometric abstracts are always interesting. They take months to complete and I am just amazed at the patience and dedication that is involved. This one Hope is typical of her work – eye-bending but beautiful.

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Susan Fynes: Hope

The University of Brighton MA show is open until July 16, 10.00 – 5.00 at University of Brighton, Grand Parade, Brighton BN2 0JY  

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