24 October 2001 - 26 January 2002
'Vivid' brings together
the work of twelve British and American abstract painters, many of whom
have rarely or never exhibited in the UK.
Espousing neither a
dry, reductivist formalism or an all-embracing abstraction, the work
indulges in different ways in the pleasure and opulence of painting, a
hedonistic engagement always within the parameters of the medium.
As opposed to
free-style allusion, these artists implicate the viewer in a dynamic
tension between reference and process, narratives and materials, structure
and intuition. These contradictions and ambiguities encourage an active
and intense viewing situation by never allowing the work to settle into
fixed meanings and representations.
Torie Begg blurs
the distinction between artwork and object by following standard
procedures yet ending with paintings stunning in their richness of colour
and texture. Recent exhibitions include 'Making the Making', Apex Art,
New York, (2001) and 'L'Art dans Ie Monde 2000', Paris.
maze-like constructions are at once painting, drawing, sculpture and
installation. Extending from the wall into the gallery space, they defy
easy categorisation. Recent and forthcoming exhibitions include a solo
show at Hales Gallery, London, (2000), Shoshana Wayne Gallery, Los
Angeles, solo, (2002) and 'Sprawl', Cincinnati Contemporary Art Centre,
'monochrome' canvasses and paintings on laminate carry a latent intensity
in their smudgy, untidy surfaces and gestures. Recent exhibitions include
'Minimalism: Then and Now' (Berkeley Art Museum, San Francisco, 2001).
Billed by Artforum
last year as a name to watch, Jonathan Feldschuh layers painting,
drawing and clear acrylic to create ambiguously sensual paintings which
hover between surface and depth, order and chaos. Recent exhibitions
include 'Little Corner of the World', solo, Cynthia Broan Gallery, New
Based in Los Angeles,
Dennis Hollingsworth activates his paintings with an explosive
vocabulary of smears, smudges, gestures and blobs which vie for space and
attention. Recent exhibitions include 'Nach Bild', Kunsthalle Basel,
(1999), as well as solo shows in Tokyo, Cologne and New York.
apparently subdued paintings elude meaning, quietly hinting at
possibilities with surfaces that invite attention yet hold resolution in
abeyance. A performance for voice and cello, based on Key's paintings, was
presented by the Peer Trust at Shoreditch Town Hall earlier this year.
Key's work was also included in 'The British Art Show 5', National Touring
paintings, from her recent 'The Stations of the Subway' series, counteract
their imposing vertical stature by interweaving between Minimalist
geometry and its potential collapse and mutability. Recent shows include a
solo exhibition at Cheim and Read, New York (2001).
paintings are inhabited by oblique, suggestive shapes and forms which
"fade out from the centre". He is regarded as one of America's foremost
abstract painters, with over forty one-person exhibitions worldwide to
date. Recent solo shows include Ace Gallery, Los Angeles, (2001).
self-conscious grid paintings ape this Modernist paradigm whilst
foregrounding its capacity for allusion beyond artistic conventions.
'System and Structure', Parsons' mid-career retrospective, is touring to a
number of British venues throughout 2001. Other recent exhibitions include
'Sensation: Young British Artists from the Saatchi Collection',
international tour, (1997-1999) and 'The British Art Show 5', National
Touring Exhibitions, (2000-2001).
latest paintings are made using standard industrial sheets of 8x4 sterling
board. The jagged edges of the compacted wood grain are used as
demarcations for bands and zips of vibrant colour which point towards
Modernist pastiche and comic-strip aesthetics. Recent exhibitions include
'Perfidy : Surviving Modernism', Kettle's Yard, Cambridge (2001).
imagery is manipulated to the brink of recognition in Michael
Stubbs' new works, where graphics vie with exuberant painting using
transparent tinted floor varnish. Recent exhibitions include 'Elastic
Abstract', Curtain Road Arts, London /Spacex Gallery, Exeter, (1999), and
'Throb', Gallery Westland Place, London, (2001).
Art historical and
popular culture references intermingle in the paintings of
Daniel Sturgis. A repertoire of brightly-coloured motifs
cluster around the edge and encroach towards the centre of the picture,
managing to combine formal concerns with retro-chic. Recent exhibitions
include 'Complementary Studies', Harris Museum, Preston, (2001), and
'Surface Tension : New British Painting', Holly Snapp Gallery, Venice,
For images and further information please
contact Sotiris Kyriacou on 020 7602 9494