Curated by Paul Carey-Kent
Bazalgette Room, the House of St Barnabas, 1 Greek St, Soho Square, London
By appointment via email@example.com 5 Jan - 23 June 2017 -
all work for sale
Launch evening 20 January, 6-9 pm, RSVP required
The emphasis on process may sound an inward-looking game, but there is considerable pleasure in deducing the method used and seeing how its logic leads to the result. Yet the world does enter in various ways, and that provides an additional subject. Tony Charles and DJ Simpson set up a clash between the forces of art and industry, and both use mechanical tools to subtract material as their primary means of intervention. Alexis Harding encourages gravity to do its stuff, while Daniel Lergon provides chemical analogues for the formation of the cosmos, and Shane Bradford combines a geologically styled process with a personalised one. The deconstruction of painterly tradition is particularly clear in Jonathan Parsons' reversal of normal figure / ground relations, Tom Hackney letting Duchamp’s non-art production determine the form of his modernist grids, and Neil Zakiewicz entrusting a third party with his chance element so that – reversing the norm – he makes the surface but doesn't paint it. Michael Stubbs may not use a brush, but does employ classic pop and abstract expressionist moves – yet in an ironic and confusingly layered manner.
Clockwise Stoppage (pusher), 2012
Oil and gloss on MDF - 44cm diameter
Alexis Harding’s entropic abstracts start rapidly as he pours household gloss onto a ground of incompatible oil paint. Then they develop over months as chemical interaction, gravity and rotation collide contingency and control to arrive at a point of suspended movement suggesting, perhaps, the skin of a body in time as well - in this tondo format - as a clock.
Water on pulverised iron on canvas - 60 x 40cm
Colorcore on Birch plywood - 51.5 x 51.5 cm
DJ Simpson arrives at a distinctive language by combining the found object with expressive gesture, so riffing on both conceptual and painterly traditions. He uses an electrical router to cut into and expose a layered support, ‘drawing’ or ‘painting’ by an industrial means which sculpturally removes the surface instead of marking it.
Household paint and tinted floor varnish on mirrored aluminium on mdf - 50x40cms
Slim Chance, 2016 (shown as installed)
Polyurethane paint on MDF - 61 x 80cm
Neil Zakiewicz often outsources the spray painting of his MDF constructions to a car workshop. He provides just a rough 2D sketch as the plan, and so cedes control of how the raised elements in his carpentry will generate irregularities. ‘Slim Chance’ is cut to suggest movement through two squares that are separating or merging.
Household gloss paint, metallic emulsion on canvas on board - 45 x 41.5cm
Gesso on linen, oak frame - 34 x 34 cm
Tom Hackney depicts the chess games of Marcel Duchamp – who famously claimed to have given up art for the game – by translating each move into a layer of black or white gesso. If no piece passed, a square remain unpainted; if many did, a sculptural relief is formed on the grid.
Gloss paint and resin on aluminium - 60x40cm
Charles (who also runs the Platform-A gallery in Middlesbrough) utilises his experience in the steel construction industry to scrape back painted aluminium, erasing the image so far as possible within a set time limit. The grind marks emerge - paradoxically -
as the most painterly aspect, as highlighted by the final step of painting over a layer of semi-reflective resin.