Garden Room, House of St Barnabas, London: 1 Oct 2018 (special opening evening Fri 26 Oct) - 31 March 2019
Curated by Paul Carey-Kent
Marie Harnett brings an intense focus to film stills, from which she makes intricate pencil drawings which imply the wider narrative arcs connected to fleeting moments of drama, beauty and suspense she selects. These drawings add a further twist by subjugating the human to the floral: Flowers extends the dried flowers hanging from the ceiling in the original still to replace part of the face of the person seen; Room 2 blurs the figure now merely suggested on the bed to shift the focus towards the flower pattern on the wallpaper. In cinematic terms there's just a hint of the vegetal menace of 'Day of the Triffids'.
London-based Norwegian Kristian Evju's drawings are collaged from a series of garden photos depicting the pre-Soviet Russian imperial Romanov family around 1909. He has incorporated hexagonal patterns into a wider series of such works after finding that the hexagon, as the most solid structure in nature, is at the centre of such compounds as glucose and fructose, as well as in beehives, snowflakes and the molecular representation of photosynthesis. Evju, then, is combining two power structures: the hidden natural machinations behind leaves as factories for oxygen, and the sociological construction of political power. The bad news for forests, perhaps, is that the Romanovs were executed in 1918.
Labour + Repetition = Decay W23, 2018 - Paper, Labour,
30 x 39cm
Labour + Repetition = Decay B19, 2018 - Paper, Labour,
30 x 39cm
D J Roberts
Las Vegas, 2018 - graphite on paper, 8.5 x 15cm
Order/Disruption No. 3 2012 - Laser engraved laminated board hand-painted in acrylic (Ed. 2/5 - each in different colours), 25 × 25 cm