So, it’s show time for the art world in London. Across the fairs and events visited thus far it seems there are trends for colourful work in bold primary and secondary colours and for textured work.
These themes began to emerge at the Pavilion of Art & Design London, where works for sale particularly include a number of pieces by Agostino Bonalumi on Galerie Vedovi’s stand, which build geometric patterns by stretching the canvas over various obstacles, some slashed work by Lucio Fontana, several Antoni Tàpies relief paintings, and a collection of collages by Roy Lichtenstein plus a design for a contemporary tapestry. Here there seemed to be a particular choice of works with texture as the fair also contains a number of design stands, whilst the majority of work for sale is mid twentieth century.
At the Frieze Art Fair, Marc Quinn has left his Fingerprints all over Galerie Thaddaeus Ropac’s stand. Indicating personal identity, authorship and uniqueness, the coloured version of this relief work seems to highlight the bacteria we may come in contact with in our daily lives, each secreting itself in a different groove in the texture of the finger print.
- Fingerprints by Marc Quinn at Frieze Art Fair
Magali Reus’ Balance Sheet series on Galerie Fons Welters’ stand contrasts roughly textured silicon rubber with shiny, smooth aluminium grilles.
- Balance Sheet Series (2011) by Magali Reus at Frieze Art Fair
Nick van Woert’s Not Yet Titled 7 (2011) on Yvon Lambert’s stand references Liam Gillick’s work and acts as a room divider almost akin to Richard Serra’s Titled Arc (1981), but is partially transparent. A series of equal blocks are stacked horizontally, each containing different textured materials in different bold colours, including liquids, loft insulation, wire wool, chippings and powder.
- Not Yet Titled 7 (2011) by Nick van Woert at Frieze Art Fair
Placebo Syndrome (2011) by David Mullen at Tank Gallery
David Mullen’s paintings in The Pleasure Principle at Tank Gallery are an appealing sculptural form. By applying monochromatic layers of thick impasto oil paint to his canvases and then covering with one or more layers of gloss paint, Mullen has been able to allow the surface to dry solid whilst the interior remains liquid enough to peel the surface back into a sculpture with the surface of the painting cut away and hanging off the wall. These works, particularly the grey Placebo Syndrome are almost like a sardine can that has had its lid curled back halfway, exposing the yellow filling, whilst the framed work The Perfect Crime directly illustrates the paint coming out of the canvas, peeling back the layers towards the found picture beneath. From a similar thought process Eunkyung Lee’s circular paintings Collected Samples in the Slade MA show are on castors and invited to be kicked around the space to knock against one another and reveal the multiple layers of imagery that are built up on their surfaces. Hence the work becomes an interactive piece in the creating of new, constantly evolving work through the combination of fragmented images akin to peeling back the layers of adverts on a traditional billboard.
Collected Samples 2, 6, 11 by Eunkyung Lee