APT - Art in Perpetuity Trust

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Past Exhibitions | 2012

scaffoldscape | Redstart Arts

January 2012
Cash Aspeek and Redstart Arts
> Further details
Supported by A.P.T Projects

Beyond the Shadow
curated by John Crossley and Laurence Noga

David J Batchelor, John Crossley, Tricia Gillman, Stephen Jaques and Laurence Noga

16 February to 4 March 2012

This exhibition brings together the works of five artists all working under the umbrella of painting. Their shared respect for the physicality of paint, leads them to engage with the process and investigation of surface, form and colour. All are concerned with the language of painting but this may manifest itself in different ways. The relationship between the chaotic and the ordered creates a decision making process which involves intuition and concept this is evident as well as the physical and plastic qualities which highlight the in-between and the object like. This in turn creates an internal conversation that embraces the viewer's contribution to the ongoing dialogue and invites inquiry rather than occupying a position. Welcoming the subjectivity of the viewer as if to elicit a conversation with the works internal life.
The work of John Crossley engages you with a semiotic language, each painting is developed through careful surface layering. The ground brushwork is systematic often building a density of mark over luminous vales of colour. More solid stacks of colour float or jostle for position on this ground .This silent language can suggest a kind of semaphore, a secret language that needs code breaking. The paintings of Crossley are dense, object like, secret boxes that utilize subtle nuances of mood, feelings of distance and closeness, shifting human relationships.
David J Batchelor has developed a landscape of secrecy and shadow. The fluidity of marks are made with household paints on household objects. These objects are ambiguous structures, like small lighthouses attracting the viewer into a mysterious venue. This sense of place is further enhanced by the depiction of sheds or beach houses, isolated outposts waiting for signs of life. The layering of the paint has a graphic confidence like a Graham Sutherland tree root, the flooded paint acts as an animated whisper.

Tricia Gillman also uses roots and stems in her approach. The white ground activating a poetic interplay of the diagrammatic and the painterly excursion. This interplay flirts with the viewer. Hieroglyphics, nodal points of colour create a symphonic explosion, controlling the viewing through the sound of paint. The history of the making is key to the paintings seduction. The works are like magical recipes for the paintings making, unlocking memory, building and dissolving language.
Stephen Jaques works are mysterious super structures, oscillating between refined flatness and illusionary forms floating in deep space. The confidence with colour operates on our subliminal viewpoint. The paintings although very present have an absence, a detachment. This detachment is one you want to get to know. How is the colour system worked out? Jaques' draughtsmanship uses a complexity of decision making, which tone or edge will reveal the answer? The work has a speed and dexterity of hand, that keeps us on the edge of our seat.

The works of Laurence Noga deal with an in-between space. He is using a dialogue between in control out of control, keeping faith in materiality, allowing intuitive events to collide in a frontal approach. Poured enamel touches matt rolled acrylic. This activation of memory, genetic, collective or individual is key to the paintings phenomenology. Noga uses shifts in scale, both micro and macro to focus the viewer on the exactness of the colour relationships, the space depicted (inside and outside) pushes colour into luminous states of spatialisation and ambiguity.

Beyond the shadow hints at what is unknown, what we imagine. The artists in this show have all taken that journey.

Laurence Noga, John Crossley, 2012

David J Batchelor
davidjbatchelor.co.uk
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John Crossley
johncrossley.info
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Tricia Gillman
triciagillman.co.uk
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Laurence Noga
aptstudios.org/artists/LN
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Stephen Jaques
stephenjaquespainter.com
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Jam Tomorrow
Friday 9 March to Sunday 1 April 2012

http://jamtomorrow6.tumblr.com/

Meaning: Some pleasant event in the future, which is never likely to materialize. Origin: Derives from Lewis Carroll's Through the Looking Glass and What Alice Found There, 1871, in which the White Queen offers Alice 'jam to-morrow'.

Socialists often used to ridicule the capitalist system as offering the empty promise of 'Jam tomorrow'. A quotation attributed to the labour politician Tony Benn in 1969 was "Some of the jam we thought was for tomorrow, we've already eaten."

A.P.T Gallery are pleased to present Jam Tomorrow. Six artists reposition themselves to establish a pathway forward for abstraction, modernism and the concept of a future. In an age of austerity where the promises oftomorrow are constantly eroded, this exhibition is an attempt to counter this through a forward looking form of painting, collage and making. The title Jam Tomorrow has multiple meanings and refers to the possibilities of the artworks’ development as well the artists’ personal progression.

Exhibiting together for the first time, the artists show new and recent paintings, collages, mixed media work and sculptures. Linking strands are visible withinand between their practice; utopian ideals, modernist discourse, nostalgia, architectural construction, abstraction, minimalism and painstaking craft. In Jam Tomorrow the six artists make a valuable and relevant contribution to the revisiting and reinventing of, and the dialogue about, the languages of abstraction and modernism.

This group of emerging and mid-career artists and art educators live and work in London. Between them, the artists have exhibited widely in both solo and group shows in London and across the UK and in Switzerland, France, Germany, India and Ecuador. Their work has been selected for exhibitions such as the Crash Open Salon and Deptford X and they take part in open studio events such as the Hackney Wicked Festival and ArtNW10. Deepa Chudasama is represented by The Agency gallery and Clive A Brandon by the Galerie Hubert Baechler in Zurich.

Clive A Brandon cliveabrandon.co.uk

The New Ruins
Collage on paper
35 x 29.5 cm
2012
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Deepa Chudasama

Untitled
cable ties, wooden frame, mesh fabric
2011
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Gemma Cossey gemmacossey.com

Large circles / small circles 1 (white on black) ink, acrylic and blackboard paint on canvas
16" x 16"
2011
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Matthew Evans matthewevans.tumblr.com

Untitled
acrylic, coloured pencil, linen on board
20 x 20 x 4 cm
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Kathryn Place kathryn_place@yahoo.co.uk

Time
Mono print and collage materials on paper
2011
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Paul Snowdon http://paulsnowdon.tumblr.com/

Haunting Queen
Oil on Linen
40cm x 50cm
2012
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THE WORLD'S OUR OYSTER
Linda Antalova, Ernesto Canovas, Catharina Cronenberger Golebiowska,
Maya Fujiwara, Eunkyung Lee, Jungwoo Lee (Locco), Jakeline Londono,
Maria Angelica Madero, Elaine Mullings, Atsuko Nakamura, Haruka Ono,
Ayuko Sugiura, Phil Thompson, Jiho Won, Seoyeoung Won

19 April to Sunday 29 April 2012