SIGHT SPECIFIC

Curatorial Art Practice in London

Supersurface, An Exhibition Curated by Michael Stubbs

The show, held at Laurent Delaye in June 2009, initiated a cross-referential dialogue starting with Robyn Denny’s landmark, 1959 abstract painting ‘Place 3’, which optimizes urban and visual popular culture. The next generation, Rolph, Roberts and Stubbs, rethink abstraction in relation to the non-physical space of digital media by merging abstract and representational elements. Finally, Syed critically returns to ‘rigorous’ abstraction by quoting layering and depth in impasto.

Perry Roberts, 'Untitled', 2007, Acrylic paint on canvas, 150 x 150cm, and Michael Stubbs, 'Fireeye Riser', 2009, Oil based mixed media on MDF, 153 x 122cm

The hand-constructed paintings in Supersurface all utilise a variety of process-based methods of layering which are both optical and physical. These procedures demonstrate an overlap with the visual, mechanically reproducible world outside of the studio. By mimicking the layering of colour printing (Denny) and screen programmes such as ‘Windows’ (Roberts, Rolph, Stubbs, Syed), a complex dialogue of difference is explored between the depthless space of the printed image, the non-space of the computer screen, and the physical space of the painted object.

Robyn Denny, 'Sweet Nature 13', 1975, coloured paper on card, 54 x 80 cm, Perry Roberts, 'Untitled', 2007, 50 x 75 cm; Michael Stubbs, 'Virus FX III', 2007, Oil based media on MDF, 62 x 62 cm

Some of the works quote and incorporate the printed/digital into the very fabric or surfaces of their paintings (Roberts, Stubbs). Others re-contextualise the making of object/paintings by re-configuring art history and popular culture (Denny, Rolph, Syed). However, the works by all five of these artists seamlessly and repeatedly cross-over these distinctions – operating through any one or all of them simultaneously.

Danny Rolph, 'The Mountain Echo', 2008, Oil and acrylic on canvas, 122 x 91cm, and Shaan Syed, 'Divide', 2009, Oil and polyfilla on canvas, 168 x 183 cm

Michael Stubbs, 'Fireeye Riser', 2009, Oil based mixed media on MDF, 153 x 122cm, and Robyn Denny, 'Place 3', 1959, Oil on canvas, 72 x 84 in/182.9 x 213.4 cm

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Gillian Wise Relief Construction 1966. From the exhibition 'British constructivism: The Catherine Petitgas Collection' until 11 June at Pallant House Gallery, Chichester.  www.laurentdelaye.com. #constructivism #pallanthousegallery #laurentdelaye #catherinepetitgas #britishart Norman Dilworth Structure Series 2A 1972. From the exhibition 'British constructivism: The Catherine Petitgas Collection' until 11 June. Works mirroring onto each others. Catherine Petitgas collection Fun and stimulating review on Jason Oddy and revolution from Sight Warde-Aldam''s bedroom and beyond

http://www.apollo-magazine.com/london-needs-a-spring-clean-or-perhaps-a-period-of-stagnation/?utm_content=buffer4899e&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer  #art #architecture  #jasonoddy #oscarniemeyer  #BrazilEmbassyUK  #coyalondon_  #sitespecific  #photography  #contemporaryart  #london  #algeria  #Mucem  #contemporaryphotography  #photographylondon  #currentshow  #laurentdelaye Jason Oddy on Oscar Niemeyer, Communism, Algeria and Revolution
On 14 April at the Embassy of Brazil, London and 25 April at Coya London
@BrazilEmbassyUK  @coyalondon_  @laurentdelaye. #art #architecture  #jasonoddy #oscarniemeyer  #BrazilEmbassyUK  #coyalondon_  #sitespecific  #photography  #contemporaryart  #london  #algeria  #Mucem  #contemporaryphotography  #photographylondon  #currentshow  #laurentdelaye Jason Oddy on Oscar Niemeyer, Communism, Algeria and Revolution

Coming on 14 April at the Embassy of Brazil, London and on 25 April at Coya London

@BrazilEmbassyUK  @coyalondon_  @laurentdelaye. #art #architecture  #jasonoddy #oscarniemeyer  #BrazilEmbassyUK  #coyalondon_  #sitespecific  #photography  #contemporaryart  #london  #algeria  #Mucem  #contemporaryphotography  #photographylondon  #currentshow  #laurentdelaye

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