I showed you a glimpse of this painting a while back during the making of it. Here, for your perusal, is the full picture. I had forgotten to post the finished article. After the 'Hunger' show last year I put it away but I was reminded of it the other night whilst waiting on a station and looking at the Christmassy-looking red lights dotting the London skyline. They were cranes; the symbols of the ever-changing city of London, building larger office blocks and gentrifying all areas of the city, be it now or later. Anyone would be mistaken for thinking that all this building could lead to a better life for everyone with jobs and homes for all, but it doesn't really does it? In my painting below, if you look hard enough, you will find a small red question mark regarding this paradox.
Mixed Media on board
by WE (Robin Tomens/Jane Pearrett)
Here's a piece of work Robin and I made a few months ago for The Tunnel's last group show, 'Hunger'. Appearances can be deceptive, especially in the case of this photo. What looks like a real dart board hanging on wallpaper is actually one flat piece, a collage of printed images. It's about boredom with the media obsession for certain individuals. I could name the characters but I will leave it to you to identify them; that's the fun bit. Needless to say there are two who are particularly topical.
and has a small picture of the legend on the back.
I'm always reading books in-between others these days. I was reading Jean Paul Sartre's The Reprieve which I put on hold whilst I took up with Phillip K. Dick's Do Androids Dream of Electric Sheep? for a forthcoming art project with the Tunnel Group. Then whilst cleaning out our front room for decorating Robin presented me with Tom Wolfe's The Painted Word,which I consumed very quickly; reading it at night and in the morning (a sign that I'm enjoying it).
It very succinctly reveals the way that modern art movements, since breaking from realism, were a series of reductions just like a good gravy, each new one breaking with a tradition in some way or another leading to Minimalism, Conceptual Art and plain Theory/Words on their own. Eventually, in the 70s, a reaction came in the form of representational work such as Photo Realism.
If you've never read it (as it first came out in 1976) and you're interested or puzzled by what was going on then I suggest you read this book. It's quite an easy read if you know your basic art history and is rather boisterous and amusing with occasional flurries of Latin thrown in the mix.
Earlier on this year I joined an art group called The Tunnel after seeing an exhibition of theirs at The Geddes Gallery, Kings Cross, called Interzone. The technique employed for that show being the cut-up technique was one of the elements that interested us in attending.
The latest show is called Hunger and was inspired by the book of the same name by Knut Hamsun which I read way back in the mid-eighties. The subject being about a starving young man whose sense of reality is giving way to a delusional existence within a dark modern metropolis.
The word 'Hunger' is simply a trigger for open-ended interpretations rather than literal ones although there will no doubt be considerable social/political content on display. It's held at a new gallery in the east of London called Gallery at Republic. We will (that's me and Robin) be contributing to the works on show so if you feel like looking at some challenging art get yourself down there.
Here's the promotion for the show if you want to check it out. Artwork was done by Robin.
There are so many art galleries around the back of Oxford Street now which weren't there when I lived in Fitzrovia in the late 80s. Back then it was mainly an area for the wholesale clothing industry which it still is in part. So this is the area we went to on Saturday to catch the last day of the Lygia Clark show at the Alison Jacques Gallery in Berners Street.
Lygia was part of the Brazilian concrete art movement of the 1950s but was looking for ways to achieve greater sensuality, feeling and movement into the style within a neo-concrete splinter group.
I believe that her greatest achievement is in the sensuality of the work. Wonderful pairings of shiny white gloss industrial paint set against matte black in some of her relief works with such wonderful cracks and ageing, surprisingly working very well with such extreme modernism.
Beautiful three dimensional maquettes for interiors envisioning sliding walls and wonderful wall reliefs which form part of her development in making hinged works that could be manipulated into one's desired shape.
Construa voce Mesmo seu Espaco para Viver
(Includes Robin peeking through the window)
My shadow observing Casulo (Study)
Wall relief in Metal
Very enjoyable. I wonder what's coming up next at this gallery?