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Transition presents
nine London-based artists all of whom have faith in painting. Using
a variety of styles, media and approaches each artist explores what
painting means to them as an individual in 2004. All of the artists
are graduates of London schools, including the Royal College of
Art, Royal Academy, Chelsea and Middlesex.
Emi Avora uses imagery from property leaflets, magazines
and holiday brochures. The imagery is then manipulated to create
dream-like spaces that hover between the real and the fictional.
In a similar way, Carol Ho uses images taken from the media.
Focussing on female imagery, her colourful canvasses challenge the
viewer’s perception of the representation of the human form.
Katarina Ivanisin’s cityscape series is based
on photographs of the view from her bedroom window in her hometown
Dubrovnik. The view is of the idyllic medieval city charged with
past and recent violent and fractured history. The final pieces
are C-prints, initially constructed as collages from torn newspapers
and high gloss magazines. In her graphite and resin series,
Ivanisin uses industrial webbing as both an applicator
and a template for graphite pigment. The undefined space created
actively engages the viewer as well as creates a meditative space
for the viewer to occupy.
Sharon Leahy-Clark uses paint and clay to create poetry.
Quickly made clay shapes are placed together on a circular platform
in such a way as to suggest rhythm, structure and form.
Simon Leahy-Clark also employs alternative materials to comment
on the act of painting. Using bubblegum in place of paint, his work
is an absurd take on high modernism, and a response to recent trends
in contemporary trends.
Kate Palmer’s complex surfaces arrive from mono-printing
(using large expanses of plastic sheeting), painting, drawing, and
erasure. The work builds up as a palimpsest, if you like, a series
of layers in which the earlier survive as ghosts.
Mark Pearson’s abstract paintings also involve a high
degree of process. Polymer paint is poured onto a canvas, resulting
in unanticipated structures and patterns that can resemble anything
from landscapes to neural networks.
Claire Pestaille appropriates images from historical painting,
making subtle interventions to extend and disturb the narrative
and meaning of the original work.
Sumiko Seki’s flower paintings highlight the passing
of time and the transience of life. By juxtaposing unfocussed photographic
backgrounds with painterly flower motifs, she creates two surfaces
which are distinctly separate and have a dislocating effect for
the viewer.
Faith
was recently shown at CAS in Osaka, Japan, and is travelling to
1A Space, Hong Kong in September.
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