For her debut exhibition with Huxley-Parlour and her first solo exhibition in the United Kingdom, Ruth Laskey presents a suite of seven new weavings from her Twill Series: a sustained exploration of form, colour, and process that has defined fifteen years of artistic production. Her latest body of work, entitled Twill Series (Circles), comprises seven of Laskey’s largest weavings to date, each featuring three distinctly coloured circular motifs within a larger rectilinear colourfield.
In his work Tal R often employs apparently simple compositional devices and motifs from everyday life to create complex, atmospheric worlds that, beginning with the recognizable and known, expand or collapse into spaces of enchantment or ambiguity, heady with atmosphere and colour. For the past few years he has made paintings and drawings of flowers in vases. Each work depicts a bunch of flowers picked by the artist from around his home in the Danish countryside, presented in a vase on a tabletop within a closely cropped interior space.
Pistoletto’s signature mirror paintings use the reflective picture plane to draw both viewer and environment into the work, thereby establishing an active relationship between artwork and spectator, while simultaneously creating a virtual space in which art and life can seamlessly interact.
Somewhere along the vertical axis of most of Lily Stockman’s paintings lies the suggestion of a dividing line, if not some length of a line itself. This makes a painting’s two sides roughly symmetrical.
Nell Brookfield makes paintings that convey the heightened specificity of a moment. Her paintings often have nocturnal settings at parties or social gatherings. In her works, the people present, who usually would be the most noisy and animated elements there, seem momentarily frozen in their poses. In their place, the incidental elements around them take over, taking a life of their own, moving slowly, changing and morphing in organic shapes. The pattern on someone’s dress, the curls of hair on a pet dog, the whisps of smoke from a cigarette or candle. It is as if the human world pauses, and the world around us, take over, knowing that when we are gone, they will still be there.
Kate Bickmore takes one of the most classical subjects of painting – flowers – and gives new life to otherworldly creatures in a unique style and scale. They are uncomfortably alien and beautifully human all at once. Flowers are typically considered pretty decorative objects on the receiving end of our gaze, but Kate makes the viewer feel as if they are watching and wanting us. Possibly even making their own plans… — Jonathan Travis
The Approach is pleased to present a selection of works in the Annexe by the late English painter Jeffery Camp (b.1923, d.2020).The exhibition focuses on works from his later life where Camp used small unusually shaped canvases as part of the composition of the paintings, combining highly individual figure compositions with tender studies of nature and paintings of sea and shore, as well as portraits of friends and contemporaries.
Following a period in which his work reflected anxieties in the aftermath of the Second World War, this exhibition tracks the three pivotal years in which Crozier redefined his voice as a painter. The works on display immerse the viewer in an urgent deluge of colour and light, depicting rural landscapes on the outskirts of Winchester in the south of England and New York’s cityscapes, parks and squares at dusk.
In Pariani’s paintings, the lines in oil and spray paint converge and superimpose to form images of striking vibrancy. Rendered in layers against the haptic ground, the raw shapes at times evoke figures and faces, as if suspended between the abstract and familiar. Fusing drawing and painting, humour and intensity, enthusiasm and composure, the paintings in this new body of work highlight Pariani’s unconventional process and distinct visual language. This is the first solo presentation of the artist in London and his first one with Skarstedt.
Bosse & Baum is pleased to present All That is Left, a solo exhibition of wall-based works by British artist May Hands, containing hand built ceramic forms, woven and crocheted textile fragments, naturally dyed surfaces and detritus from everyday consumption.
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