24th-27th March 2015
I also went to a few galleries, since we’ve handed in our essay, it’s been working non-stop towards the exhibition and I was feeling pretty rubbish after the crib we had with Liz, in hope that I would perhaps be inspired. I did this in between visits to people’s off-site exhibitions which was really great.
Paul McDevitt – Grand Canyon @ Stephen Friedman Gallery
This exhibition was pretty amazing. I was really taken by the technical skill of the artist, who used chalk and pastel on these large scale drawings below. They reminded me of my rope drawings but also many strands of hair unravelling. The detail is pretty amazing, I liked the ones without the typography because of how abstract they appear, especially the ones in which layers look like they have been ripped away – these seem very chaotic and speak out destruction.
Richard Long – The Spike Island Tapes @ The Alan Cristea Gallery
This exhibition contained a few, fairly large relief prints and some colourful works too. I really liked the monochrome prints, in fact I thought they were the strongest and correlated well with his older works. For me they were more natural. I felt like I was being immersed in a forest of tall trees, but I could also feel movement, as if I was running through that forest. A silence is captured in these that I associate with nature that I feel the more vibrant prints don’t because they’re loud. I think of fire, or warmer seasons, perhaps destruction?
Christina Mackie – Tate Britain Commissions 2015
Now, I really wasn’t impressed with the commission for the Tate Duveen’s Gallery, I’m not sure what I was expecting but I found it very anticlimactic. I found it quite pointless and didn’t think the statement that was given really matched what we were ‘being sold’ as viewers, because the physical content was not ‘selling’ anything. And I use the word ‘sell’ because I’m pretty sure there was enough money poured into this commission to make something worthwhile.
Apparently, it was meant to be exploring a state of flux between binary opposites, these are self and world, subject and object, natural and man-made – but I don’t believe it was successful in doing so. I know the nature of colour was being explored, but this was only being explored through the ink that had permeated the silk nets and water as well as the artists use of colours of the spectrum – so this was probably the natural aspect being explored. In terms of self, I guess that would not only be how the viewer interacts with the installation but also reflections when looking into the water (possibly). Subject and object – I’m thinking this is processes that are intangible or the more natural process that occur and object being the physical installation and the environment, which then goes onto the space itself being man-made. This is me guessing. As for there being a state of flux, I couldn’t see that happening at all. Apparently the colour of the dye is meant to change but there just isn’t enough lighting in the Duveen’s Hall for this to really happen.