In conjunction with the John Marchant Gallery of Brighton, we are very pleased to announce our forthcoming show- Then Me Too
OPENING ON FRIDAY 22nd of July- Continuing until 1st October 2016.
Summer opening hours: Tuesday- Friday 11.30- 5pm.
Chromatography (or Colour Writing) is the extraction of compound elements from a mixture by means of separation. Then Me Too uses a similar technique to expose base elements, to delve into our pleasure in mark-making and colour, by means of a grouping of art from a multiplicity of places and practices. Like a visual manifestation of Morton Feldman’s sound work, bright little explosions of colour abound in Then Me Too.
Fabrice Cazenave’s (b. 1975 France) work Sliders 17 (2015) is the elegant result of careful col- lection and arrangement of chance materials from other projects, whilst the installed carpet work Lumen displays a gorgeous seeping colour bloom. Alison McKenna’s (b. 1970 UK) paintings are seemingly as random, though harnessing the tensions inherent in fast, expressive mark making and colour arrangement and rearrangement - the intuitive action of the artist looking for balance, harmony and energy. Martin Erik Andersen’s (b. 1964 Denmark) sculpture Alchemilla Mollis - Don’t look Now (2016) can similarly be seen by a casual glance as a grouping of random elements, but this Danish Royal Academician is utilizing his familiarity with a specific register of materials - steel plate, wire, weaving, ceramics - to elicit enquiry and response and Susanne O’Haire (b. 1974 UK)’s poised sculptures derive from a scavenged materiality. A more playful yet urgent use of colour and materials is inherent in Gilda Mautone’s (b. 1974 Italy) constructions, whereas Hernan Ardila’s (b. 1964 Colombia) works on paper and wall-based sculptures radiate harmonic clarity and balance.
Then Me Too also includes nominally figurative work by Harry Adams (b. 1965 & 1966 UK) and Paulina Arroyo (b. 1982 Chile). Neither are interested in explicit reproduction but rather a parallel objective of conveying diverse energies - here respectively in a large ‘Blake on meds’* landscape by Adams and a series of rapidly executed visual veves from the Other Side by Arroyo.
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