Friday, 18 March 2016
Wednesday, 8 April 2015
Five Senses has moved - The new address is www.joshuaswhite.com
I've now moved my blog to Wordpress at www.joshuaswhite.com where you can read new articles and see The Art Channel films I've made with Grace Adam.
I will keep up an archive here on Blogger for the time being.
I will keep up an archive here on Blogger for the time being.
Thank you for reading and your support.
Monday, 17 November 2014
Shinro Ohtake at Parasol Unit
Shinro Ohtake takes the process of layering pieces of paper
to an obsession. As he randomly gathers magazine clippings, old photographs, bits
of scrap, tape, paper and card, he hangs them together with string and wire or encrusts
them onto supporting surfaces. The most significant piece in the show is a structure
resembling a cabinet called ‘Retina’ from 1993 which floods the eye with obscure
details, sifted, chosen and applied until the underlying object develops a skin
of many images. Each slip of glued paper accumulates without any prevailing
hierarchy of value. This profusion of cut and glued images initially suggests
Cubist collage but it’s actually quite different. These tiny images are so decontextualized
that they are reduced to the point of evaporation. Any narrative progression is
negated through an endless series of cancellations.
Ohtake describes this process as ‘pasting’, a deliberate
overlaying of material until it becomes an almost geological record of time and
labour. Claiming a Japanese attachment to the accretion of material, this becomes
problematic in a London exhibition space. In ‘Layers of Time Memory 2’ he takes
a deep box resembling the reverse of a stretched canvas and fills the hollow
space with strips of paper such that it becomes a web of accumulated lines that
obscure the space and its depth. ‘Time Memory 28’ from 2014 flattens the relief
effects of pasted paper so that he creates contrast between cut horizontal
strips and torn, bright red blobs of painted paper that fall and scatter across
the picture. From a distance the image resembles a Modernist grid and even
echoes the restrained colours of geometric Nicholson or Mondrian paintings. Up
close, you can see him filling space and making form akin to weaving or
embroidery. The expression of the material determines its patterns.
‘Scrapbook #66’ uses the thickly, pasted pages of a book as structural
strength so that it stands upright. We can see that the pages carry content but
they are so close together that it’s impossible to observe them individually. Ohtake
adds a leathery tail on the spine suggesting a reptilian mischief. This
scrapbook illustrates how his art has an introverted quality that teasingly
withholds significance. However, all of his work asks for an engagement.
Ohtake’s art is less Conceptual and better understood as a rich interdependence
of material, craftsmanship and process. They invite optical appreciation but threaten
to overwhelm the viewer with a vast and almost infinite cosmos of stuff,
floating free from any point of origin.
Monday, 3 November 2014
Yoshitomo Nara: Greetings From a Place in My Heart at the Dairy, Bloomsbury
Yoshitomo Nara is an artist whose work blends the naivety and mischief of children. At the Dairy in Bloomsbury, he's showing his distinctive paintings along with drawings and new sculptures inspired by the recent nuclear accident in Japan. His style and subject borrows largely from cartoons, particularly the winsome nature of Japanese ‘Animé’. Children
stare directly back at the viewer with exaggerated features, particularly
glossy, sparkling eyes in mismatching colours that sometimes incorporate symbols
such as the nuclear disarmament sign in ‘Wish World Peace’. Mouths are tautly
drawn in a horizontal slash and the nose is plainly described with two nostril
dots. These children project the confidence of adults, but maintain infantile features.
It is a disarming contradiction that Nara exhaustively repeats, setting up a
tension without resolution throughout his work.
This innocence is overlaid with an ironic maturity. Defiance characterises these intense figures, which fill the paintings with brooding
petulance. For all of their inherent charm, these characters
project a disobedient fury. Sometimes Nara will overlay the works with text
such as ‘Fuckin’ Politics! and ‘Rock’n Roll The Roll’ which suggest an anarchic
negation rather than a programme for revolt. Music’s role as a means of self-expression
and liberation is a recurring theme.
One room is devoted to Nara’s drawings over three decades,
which upstage both the paintings and sculptures with a direct simplicity. They
operate as an autobiographical record of work, travel and feeling. Any
calculated charm in Nara’s more commercial work appears ineffectual and
repetitive in comparison with these authentic and lively sketches that come to
life as part of a larger exhibition installation.
A fountain of stacked plastic babies crying a cascade of real tears illustrates Nara’s propensity for theatricality. While some of life’s grittier challenges are alluded to in the exhibition, Nara’s art veers dangerously close to whimsy with an almost Victorian reverence for childhood as a place of emotional sanctuary and nostalgic retreat for adults.
Monday, 15 September 2014
'Play What's Not Really There' at Raven Row
One of the most challenging exhibitions that I've recently seen in London was mounted at Raven Row over the summer, an
independent foundation based in one of London’s oldest, surviving shops in
Spitalfields. The starting point for the show can be summed up by the phrase
coined by Miles Davis to ‘play what’s not there’. This impossible act became a
metaphor for a larger enquiry around existential expression in art. Curator,
Michael Bracewell, chose to explore artists working beyond Soren Kierkegaard’s
description of ‘the despair of the aesthetic’, those infinite and potentially paralysing creative decisions, in order to achieve something
more profound and ‘spiritual’. It is a highly romantic notion of artists
as visionary and medium, compelled to reach for ‘truth’ despite the cost and then
to share knowledge with those who choose a safer, more prosaic route.
In a succinct essay, Bracewell examines Kierkegaard’s
philosophical quest for meaning in life. To illustrate the theme, he chose an eclectic
number of works dating from the 1960s. You needn’t have shared Kierkegaard’s
religious or intellectual interests to enjoy the show. The works ranged from
Linder’s ‘The Working Class Goes to Paradise’, a trance-like performance in a
Manchester nightclub to Edward Krasinki’s consciously awkward constructions in
wood and wire. Cerith Wyn Evans’ Leaning Horizons, two upright rods leaning against
the wall were neon illuminations embodying geometry, weight and gravity while standing
as cocky intrusions in the room.
Most of the pieces in the show were isolated within
dedicated rooms. This was appropriate for Robert Whitman’s Wavy Red Line, a
laser powered projection of flickering, red lines that traced the proportions
of an 18th century panelled room. The future incongruously met the
past here. Perhaps the work that most addressed the notion of boundaries and
transitions in comprehension was Bruce Nauman’s infamous ‘Clown Torture’ a pair
of video works illustrating psychic confusion whereby a two characters dressed
as clowns neurotically speak plaintive chants, which are later contradicted. He
stages two fictional characters performing statements that might be factual or
imagined, demonstrating the fine line between certainty and doubt and what lies
between them. It’s those ambiguous, narrow spaces in language or materials that
open up new meaning and knowledge.
Thursday, 11 September 2014
‘Lookout’: The Folkestone Triennial
Lewis Biggs, the director, has named this year’s festival
‘Lookout’ taking a cue from the town’s maritime character. Some artists have
embraced the theme, such as Pablo Bronstein’s ‘Beach Hut, in the style of
Nicholas Hawksmoor, which resembles a miniature lighthouse placed beside other,
more modest and traditional huts painted in jaunty, seaside colours. On press
day, I saw Alex Hartley’s ramshackle eagle’s nest protruding from the roofline
of a prominent hotel and Sixties eyesore, but missed the artist perching on the
platform jutting out precariously over a car park, facing the sea. For the
duration of the festival, he will periodically crawl out onto this makeshift
ledge like an occupier or solitary mystic, combining architectural intervention
with performance.
Marjetica Potrc and Ooze, an architectural and design
practice, have constructed a temporary lift that rises up adjacent to the
town’s extraordinary Victorian railway viaduct, the highest in Britain.
Originally conceived as wind-powered, the
weather proved unreliable so the solution now is a digital screen indicating
how much energy the turbine is feeding into the national grid and how much energy
the lift extracts.
Other artists have taken a less technical approach, addressing
specific sites and associated histories of the town. Jyll Bradley has built a
temporary installation on the site of a former gasworks. Remembering days spent
picking hops, a crop indigenous to Kent, she has constructed a matrix of string
courses used to encourage the vines, supported by illuminated, upright struts. ‘Green/Light’ invites you to stroll through
this memorial to agricultural craft thereby revitalising what had become sad
and redundant.
The highlight of my visit was a sound sculpture,
‘Undélaissé’ by Amina Menia, set up on a derelict site once inhabited by a food
shop bombed during World War One. In an air raid, 60 queuing residents died.
The pathos of that event is amplified by wandering across this neglected plot, now
overgrown with thick clusters of buddleia that cuckoo plant colonising no-man’s
land. Hidden speakers within the undergrowth repeat recipes for baking bread
brought to the town by new migrants carrying memories of their roots. It’s a
haunting work that links together death, loss and the simple but universal
bonds of food, the stuff of life.
By the old harbour, Gabriel Lester has erected an impressive
structure made of bamboo poles that sits above redundant railway lines, like
much of Folkestone’s old infrastructure. Drawing on memories of living in
China, the pavilion becomes a focus for considering the port’s historic relationship
with the sea as trade increasingly reverts eastwards towards Asia.
As I strolled along the harbour front, I met Sarah Staton
standing outside her ‘sculptural pavilion’ a large freestanding steel sculpture
punctured with Modernist incisions. A bench shelters under the steel shell ringed
by edible plants. She’s hoping the hybrid shelter and bench can become a
permanent feature of the seashore.
Folkestone Triennial is not a grand affair like the Venice
Biennale or the Edinburgh Festival. It’s modest and humorous and vernacular
without losing ambition. While instigating the restoration of a local park, it
still hosts international artists such as Michael Sailstorfer whose ‘Folkestone
Digs’ has been generating most interest. Thirty pieces of gold are buried
beneath the sand of a harbour beach and ‘Folkestone Digs’ continues into the
future until all have been found.
I declined to roll up my trouser legs but enjoyed watching a
large scrum of journalists, visitors and locals digging through wet sand in a
hunt for gold hidden that morning under the cover of darkness. Despite some suspicions
of an elaborate hoax, the diggers trustingly began the mucky task with gusto, instinctively
hunting for treasure, like a pack hungry for food.
Wednesday, 9 July 2014
Matisse: The Cut-Outs at Tate Modern
Responding to the restrictions of illness, Henri Matisse found a means to return art to the line, not a drawn line but a cut one. Simply manipulating scissors and painted papers, Matisse radically evolved a technique that expressed elemental qualities of shape, colour and silhouette. Tate Modern’s exhibition manages to elevate these humble Cut-Outs to pre-eminent importance. Long overlooked in favour of Matisse’s paintings of sensuous interiors and voluptuous nudes, these Cut-Outs leap off the wall in their confident simplicity.
The show starts by
illustrating the use of these cut paper forms as designs for still lives. A
pin-board holds apples and jugs held in place for their relational
effects. Matisse has infinite choices in his arrangement of these forms placed
on top of a table in a traditional still-life. Two diagonal pieces of
string describe mark out the table's edges. Beside this malleable design is
the completed painting characterised by Matisse’s fascination with pattern and texture seen here in some glazed ceramics, fruit, a tablecloth with a
cloud-like motif, and the jagged edge of a conch shell. All the elements fall
into place but we can see that the cut-out process was a crucial stage in
making the painting. In the corner of the exhibition's first room is a tiny, modest lyre made in
blue paper, the very first self-sufficient ‘decoupage’. It presents some of the
significant ideas that Matisse developed in cut paper: the silhouette and
positive form of the object set against the support which acts to pick out the fine
strings of the instrument.
‘Jazz’, an
illuminated book, which Matisse produced from 1943, demonstrates the vitality
of these cut papers layered together, colours set against each other, and collage animating the image. The finished, printed plates
demonstrate the inherent delicacy of the Cut-Outs. However, they do not
reproduce well. The original materiality of the maquettes is diminished in the
printing process as the edges, crinkled layering and textures are pushed to a
graphic reduction . Matisse accepted that the project was flawed but it alerts us to the potential of this embryonic technique which he was developing in a time of war and occupation.
The Cut-Outs offered
Matisse new opportunities particularly when immobilised by ill-health.
They became a private meditation on making images out of humble
materials. Collectively they form a ‘poor’ art without the privileged status of
oil paint or bronze. As you walk from room to room, you learn how these paper
pieces provided private entertainment and a new purpose. They began as single
pieces pinned to the wall of the studio where the draughts of air would gently
move them. Gradually they would accumulate and became immersive ‘installations’ determined by architectural dimensions and the
method of their production.
Perhaps the greatest work
in the exhibition is the ‘Parakeet and the Mermaid’. Foliage here moves and
flows as if shaped by breezes and currents embodying both the sea and the
shore. What’s so artful is the choreography of the fronds in varying colours,
directions and sizes. Matisse imagined bringing the increasingly inaccessible
garden ‘inside’ in the manner of his paintings which connect the domestic
interior to the surrounding environment through open windows and doors. We
can see in a surviving photograph how this piece evolved in scale so that it
began to turn corners at 90 degrees, as if growing naturally. Matisse deploys
colour strategically here so that hot pinks and oranges project forward while cooler
greens and blues recede until the eye eventually sees the ripe, blue
pomegranates swaying in the gaps.
‘Work with Two Masks’
is a pronounced contrast because this piece originated out of a commission for
a tiled mural in Los Angeles. Here Matisse begins a dialogue between
symmetrical, repeating motifs, which subtly vary because they are individually
hand-made. Blue neo-classical columns stand sentry at each end and a central
band resembling embroidered flowers slices the work into two. This enormous
assemblage of cut petals and seeds fluctuates between order and chance. In
the penultimate gallery you can see the final, approved design for the mural
project where Matisse dispenses with any symmetry and employs a set of
fronds in balanced colours that rise up organically out the ground, as if a
living plant.
The Chapel of the Rosary in
Vence presented the greatest challenge to the cut paper technique. Matisse
called the project the summation of his life’s work. While it largely avoids
biblical references aside from a Madonna and Child, the composite elements
combine to celebrate life and Meditterranean fecundity in the sunlight. Despite
Picasso’s contempt for its religious purpose informed, no doubt, by a
twinge of jealousy, Matisse triumphantly deploys his cut-papers to conceive a
Provencal ‘total artwork.’
Why is this show so
successful and popular? I think the vitality of these works lies
in their direct authenticity. They return us to childhood and the early
exploration of the world through sight and touch. While we cannot handle the
Cut-Outs, we can imagine the satisfying playfulness of holding the brightly
painted paper while taking a pair of scissors on a meandering journey of description. As
Matisse cuts, so he draws. The Cut-Outs dispense with any pre-conceived design
and become assertively material, almost sculptural. Matisse creates fantasies out of painted papers without hiding the journey required to
make them. What’s fundamentally entrancing about these Cut-Outs is that they manage to be
miraculously both an object and an image.
Labels:
Chapel of the Rosary,
Cut-Outs,
Découpage,
Henri Matisse,
Papier Découpés,
Picasso,
Tate Modern,
Vence
Subscribe to:
Posts (Atom)