Garden Room, House of St Barnabas, London: 1 Oct 2018 (special opening evening Fri 26 Oct) - 31 March 2019
Open by appointment from 1 October via firstname.lastname@example.org
|Installation shots with Kristian Evju and Eric Butcher|
Curated by Paul Carey-Kent
Room 2, 2018 - Pencil on paper, 9 x 16 cm
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'.
To make these works, Eric Butcher employed a window cleaner’s squeegee to spread graphite suspended in an acrylic gel across an MDF support, and then used a variety of metal blades to scrape this off the surface. This procedure was repeated, slowly building up an accumulation of thin residues. Four factors are in play: the application (which stutters), the support (and any imperfections in it), the instrument of stripping (which builds up traces from previous use) and the action of the artist's hand (eg varying the pressure or angle of the blade). The quasi-mechanical results emphasise, paradoxically, the consequent imperfections in the monochrome surface - including in these examples (but unusually for Butcher) organic blobs and scumbles.
Labour + Repetition = Decay W23, 2018 - Paper, Labour,
30 x 39cm
Labour + Repetition = Decay B19, 2018 - Paper, Labour,
30 x 39cm
In her series 'Labour + Repetition = Decay', Katherine Murphy repeatedly folds paper along composed lines until it is close to breaking. She sees that as suggesting the damage caused to a worker by repeated work acts. B19 and W23 reference the management of a farm, on which land is rotated so as not to exhaust its minerals and thus usefulness. As Murphy puts it ‘repetition is present but in a managed and considered way. This is not always what we do with people in the workplace, where harmful repetitious acts are prevalent…The resulting work is formed of layers of decay created through repeated labour by different working methods, each its own composition, which when layered together builds a new composition only possible as a conglomerate of all the labour present’.
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
|Installation shot from the opening event on 26 October: after 8.30 the Garden Room was the site of a lively disco...|