Caterina Lewis, Untitled yellow, 2012, oil on board, 51 x 40 cm (courtesy of the artist)
Andy Parkinson reviews the exhibition Other Objects at Lion and Lamb Gallery, London, on view through July 13, 2013.
The exhibition features works by Karl Bielik, Alice Cretney, Vincent Hawkins, Caterina Lewis, Wendy McLean, Gwennan Thomas, and David Webb. Parkinson notes that "the works, whilst coming from varied places of logic around abstraction, at some point in their realisation share a notion of object and placing them in proximity to other objects, persons or spaces, new relationships emerge inviting us to look again. For me 'object' and 'relationship' are key words in any consideration of abstract painting, even though they tend to get used in contradictory ways: in abstraction the object (content) gives way to relationship (form), or conversely the relationship (to content) gives way to the autonomous object (form)."
Micchelli writes that the show, which features works by Ariel Dill, Clare Grill, Kristina Lee, Sarah Faux, and Tatiana Berg, "is predicated on the belief that 'mundanely subjective perceptions can yield extraordinary insights,' and it succeeds within its own boundaries. While those boundaries are rather narrow, in a broader context Casualism, with its humble anti-heroics, acts as a necessary corrective to the overblown production values that have carried away most of the market’s high end as well as the lion’s share of media attention. Casualism’s importance lies as much in the immediate, restorative transaction between artist and artwork as it does in its philosophical open-endedness."
Andy Parkinson reviews the exhibition Meditations at Pluspace, Coventry, on view through July 7, 2013. The show features paintings by Karl Bielik, Lisa Denyer, Rachael Macarthur, Matthew Macaulay, Sarah McNulty, Phoebe Mitchell, Joe Packer, and Melanie Russell.
Parkinson writes that Bielik's "Spy looks like the support could once have been the lid of an old school desk, the hinges are still attached and the ground might be the distressed varnish upon which I imagine that Bielik has painted his main motif, a series of lozenge shapes in a net formation. I have the sense that I am looking through it to the picture plane and also looking through it to memories of lifting my school desk to create cover for an illicit conversation with a friend. Meditating on paintings can elicit this kind of age regression, bringing to mind memories and associations that may have been long forgotten, and in this evocation of youth, amongst these new abstract paintings (all less than than three years old and most of them made in 2013) I get the impression that abstraction could still be in its infancy, as if Bielik’s Curtains that cleverly close the show also, at the same time suggest future openings."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.