Curated by Rebecca Byrne and Liz Elton
The show
begins before walking into the gallery with paintings that appear and disappear
with blasts of steam. Entry to the body
of the show is via an immersive work that also presents a tunnel into another
world. Once inside, viewers will find suggestions of paths with glimpses and
vistas appearing as they progress, both of the garden of works itself and
landscapes beyond.
Embracing
the openness and inclusivity that is implied by the expanded field, Pool includes framed 2D pieces, moving
out into sculptural work, video and performance. Works that are hung on the
wall discuss space; interior space, the spatial language of painting,the space
outside the painting as paint pools and sits on the surface of its
support.Continuing to move beyond the frame, time is embedded in many of the
works, the deep time of geological formations, the contemplative time of
walking, the present time of performance, and future time in work that will
decompose, to be shown again in a new form.
Viewers
are encouraged to engage with the show directly through deckchairs that can be
moved around the space, and a bench for conversation. A performance will happen during the show,
unannounced, working with and around the works, possibly undocumented, probably
leaving no trace. A path leads to a door
in the wall, offering a glimpse of a flickering pool, and the process of
washing pigment is shown in a swirling film, suggesting the endless
possibilities of painting.
About the artists
Rebecca Byrne explores interiority and the psychological impact of space in
her paintings. In particular, her interest lies in the spaces that people
inhabit, the traces left behind in abandoned spaces and thresholds into fantastical
places that cannot exist. Recent exhibitions include ‘The Poor Door’, A-Side
B-Side Gallery, London (2015), ‘The Red Files’, Schwartz Gallery, London (2015)
and ‘Art Athina’ with Lubomirov-Easton Gallery, Athens (2015). Byrne is also beginning a Supported Residency
at The Bothy Project in 2016.
Ian Davenport is famous
for his abstract paintings, which are executed by letting paint pour over canvases, boards and aluminium panels,
tilted so that the final composition is determined in an interaction between
gravity and the paint's viscosity. He has shown extensively worldwide
including: Galerie Hopkins, Paris; GalerieSlewe, Amsterdam; Paul Kasmin
Gallery, New York; Hakgojae Gallery, Seoul, Korea andDan Galeria, São
Paulo.
Lee Edwards works in a scrupulously detailed manner across various
different mediums; his practice is frequently engaged with personal subject
matter. Recent shows include solo exhibitions at GimpelFils (2008) and Domobaal
(2011, 2016), and Lee has also curated a number of exhibitions. He has been
featured in several publications including Time Out, Elle and Saatchi’s Art and
Music Magazine. Lee is represented by Domobaal.
Liz Elton brings
gestural painting together with landscape, exposing her paintings to the
environment. Documentation serves as
work, remnants are reused, and compostable paintings look towards their future
destruction. Recent shows include ‘EnPlein Air’, Mecklenburgh Square; ‘Art Athina'
with Lubomirov-Easton; ‘Continuum of Ceaseless Change’, A.P.T. and ‘The John
Moores Painting Prize’, Walker Art Gallery.
‘Atmosphere’ was screened at the Gate Cinema, Notting Hill, following a
showing of ‘Mr. Turner’.
Sarah Jones’s work draws on legacies of minimalism and literal
theatricality, embracing and ramping this up as a part of picture making.
Recent exhibitions and performances include Studio Hollybush Gardens, ‘hmn
edition 1’, ‘Summer Rising’ IMMA Dublin and ‘Spoken Weird’ at Whitechapel
Gallery. Jones completed her PhD in Painting at the Royal College of Art and is
Resident in Critical Practice at the Royal Academy Schools 2014/2016. Jones has
no website.
Rob Leech describes
his practice in the context of a sensory experience;“When you go to an Indian
Restaurant there is always a dish that comes out still sizzling. I want that
dish, and I don't want the sizzling to stop.”Recent exhibitions include
‘Painting in Time’, The TETLEY, Leeds; ‘Apocalyptic Future Games’, No Format,
London and ‘Altered Terrain’, Associated Gallery, Brooklyn, New York. Leech is
also the Director and Curator at FORT, London.
Juliette Losq makes work concerned with the detritus of an almost forgotten
past with which our daily experience is littered. Drawn installations,
employing shifts in scale and imagery, evoke the chaotic nature of marginal
spaces, conjuring a sense of whimsical curiosity that invites the viewer to
explore them. Selected group exhibitions and awards include: ‘John Moores Painting
Prize’, Finalist and Visitor’s Choice Award (2014); ‘Complicit, Coates and
Scarry’ at Gallery 8, London (2015); ‘Ghosts’, FAS Contemporary, London (2015)
and Jerwood Drawing Prize (2015).
Vanessa Maurice-Williams’ work concerns
wayfinding through large-scale installations that concentrate on the
threshold/the portal. The scale is of fundamental importance - immense and
comical, the works loom above the viewer, fighting for their attention. Recent exhibitions include: ‘Socially
Engineered Machine’, The Control Room, Bristol and ‘Midden’, VulpesVulpes,
London. Maurice-Williams was shortlisted for the Derek Hill at the British
School at Rome and Bloomberg New Contemporaries (2014).
Sam Mould is a landscape
artist whose practice occurs through a translation of physical time-based
actions. Cartography of location, place and time emerges through different
mediums as a way of being in and moving through and connecting with site, memory
and landscape. Recent exhibitions include A.P.T. Gallery (2014) and The Jerwood
Drawing Prize (2012). Mould also writes for PaintUnion and had a residency with
The Bothy Project (2014).
OnyaMcCausland’s work explores
underlying, often overlooked or hidden histories and narratives between
geological materials and humans. Her new earthwork Charcoal Measure 2016can now be seen in the Forest of Dean
Sculpture Trail. Recent exhibitions/projects have been supported by Newlyn
Gallery (2009), Kettle’s Yard (2010), the Delfina Foundation (2012), and Camden
Arts Centre (2014). She is currently showing new prints at the Royal Academy,
and is completing a PhD at the Slade UCL in 2016.
Selma Parlour’s paintings are meticulously rendered through soft films of
transparent oil on linen so that imagery looks drawn or printed. Central to her
invented vocabulary are: the frame, flatness, surface, bands and units of
isolated colour and trompe l'oeil illusion. Recent exhibitions include a solo
show ‘Paradoxes of the Flattened-out Cavity’, DioHoria, Mykonos, Greece (2015),
as well as ‘Selma Parlour & Yelena Popova’, Horton Gallery, New York (2012)
and‘The Creative Cities Collection’, The Barbican, London (2012).
Kes Richardson makes paintings in a
range of ways employing a growing resource of reoccurring motifs and visual
languages. Currently, discarded paintings have become fodder for new works with
an interest in the physicality of the medium and its construction together with
the use of visual game-play, puns and structures. Recent exhibitions include
'Demolition Derby' at FOLD, London, 'P' at Horatio Junior, London and 'Garten
a.V.' at Frontviews Temporary, Berlin. Richardson is represented by FOLD.
Sarah Kate Wilson makes
paintings that continue to evolve as they exit the studio. These works are kept
alive by presenting them as events,
through the use of ephemeral materials, by directing others via instructions to
interact with them and by working with performers. Recent solo exhibitions
include ‘Iris’, BALTIC 39, Newcastle and ‘Projected Paintings’ at Armory Center
for the Arts in Pasadena, California. Group exhibitions include ‘Painting in
Time’ (2014), which she co-curated at The TETLEY, Leeds.
For more information, images and interviews,
please contact Griffin Gallery info@griffingallery.co.uk
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