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Saturday, October 24, 2015

SURFACE TO AIR

& Model Gallery, Leeds

Opens Thursday 12th November 2015

12 November - 12 December 2015

Maggie Ayliffe
Mikey Cuddihy
Nadine Feinson
Michael Fullerton
Jonny Green
Alexander Guy
Stuart Mackenzie
Alistair Payne
Alexander James Pollard
Katie Pratt
Christopher Stevens
Roger Wilson
Adrian Wiszniewski
Mark Wright

Curated by Mark Wright and Stuart Mackenzie in collaboration with &Model, this exhibition of contemporary painting is a follow-up to our 2013 project, Dirty Pop, also curated by Mark Wright. An illustrated catalogue with text by Derek Horton will be published to accompany the exhibition.

The artists in Surface To Air, different though they are, all share a focused engagement with the craft and material values relevant to painting. Materiality and the way it is articulated through surface and the physical handling of paint is central to an understanding of each artist’s practice.

In the newly published book Materiality (Whitechapel/MIT, 2015) Petra Lange-Berndt has written that: ‘Materiality, is one of the most contested concepts in contemporary art and is often sidelined in critical academic writing.’ However, writing about painting both within an analytic and continental philosophical tradition, Wollheim, Foucault, Merleau-Ponty, Crowther, Elkins, Deleuze and Isabelle Graw among many, have often addressed the significance of materiality in all its complexity from the perspectives of both artist and viewer. Foucault argued in The Archaeology of Knowledge (1969) that: ‘Painting is a discursive practice that is embodied in techniques and effect.’ These techniques and effects present themselves as the rudiments of all painted images: marks, lines, traces, edges and outlines.

The paintings in Surface To Air use diverse imagery to address aspects of representation, including depiction and realism as well as abstraction. They have evolved not only through specific working processes but from diverse influences and source material. This includes direct observational drawing and the use of mediated images as the starting point for painting and reflects an awareness of legacies and traditions from Minimalism to Neo-Romanticism.

From a curatorial perspective, the selection and juxtaposition of such diverse paintings highlights their autographic nature in the range and diversity of their technique and imagery, and one is made aware of how their particular concerns are articulated through form. It defines the implicit representational aspects of the works and also alludes to temporality, either demonstrated through the deployment of imagery or embodied within the physical production of the paintings.

Curated by Mark Wright and Stuart Mackenzie in collaboration with &Model, this exhibition of contemporary painting is a follow-up to our 2013 project, Dirty Pop, also curated by Mark Wright. An illustrated catalogue with text by Derek Horton will be published to accompany the exhibition.

The artists in Surface To Air, different though they are, all share a focused engagement with the craft and material values relevant to painting. Materiality and the way it is articulated through surface and the physical handling of paint is central to an understanding of each artist’s practice.

In the newly published book Materiality (Whitechapel/MIT, 2015) Petra Lange-Berndt has written that: ‘Materiality, is one of the most contested concepts in contemporary art and is often sidelined in critical academic writing.’ However, writing about painting both within an analytic and continental philosophical tradition, Wollheim, Foucault, Merleau-Ponty, Crowther, Elkins, Deleuze and Isabelle Graw among many, have often addressed the significance of materiality in all its complexity from the perspectives of both artist and viewer. Foucault argued in The Archaeology of Knowledge (1969) that: ‘Painting is a discursive practice that is embodied in techniques and effect.’ These techniques and effects present themselves as the rudiments of all painted images: marks, lines, traces, edges and outlines.

The paintings in Surface To Air use diverse imagery to address aspects of representation, including depiction and realism as well as abstraction. They have evolved not only through specific working processes but from diverse influences and source material. This includes direct observational drawing and the use of mediated images as the starting point for painting and reflects an awareness of legacies and traditions from Minimalism to Neo-Romanticism.

From a curatorial perspective, the selection and juxtaposition of such diverse paintings highlights their autographic nature in the range and diversity of their technique and imagery, and one is made aware of how their particular concerns are articulated through form. It defines the implicit representational aspects of the works and also alludes to temporality, either demonstrated through the deployment of imagery or embodied within the physical production of the paintings.

19 East Parade, Leeds, LS1 2BH, UK
+44 (0) 7717 836 886
http://www.andmodel.com
info@andmodel.com

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336 Old Street, London EC1V 9DR, United Kingdom | +44 (0)20 7739 4055 | direct@charliesmithlondon.com | charliesmithlondon.com | @CHARLIESMITHldn
Wednesday–Saturday 11am–6pm or by appointment
Words that transform, vibrate and glow: 13 paintings inspired by
the lyrics of Nick Cave
Emma Bennett, Daniel P. Carter, Nadine Feinson, Maggi Hambling, Florian Heinke, Sam
Jackson, James Johnston, Susanne Kühn, Concha Martinez Barreto, George Shaw, Dominic
Shepherd, George Stamatakis, Rose Wylie
Curated by Angela Koulakoglou
PRIVATE VIEW Thursday 16 January 2020 6:30-8:30pm
EXHIBITION DATES Friday 17 January – Saturday 8 February 2020
GALLERY HOURS Wednesday-Saturday 11am-6pm or by appointment
CHARLIE SMITH LONDON is delighted to invite curator and collector Angela Koulakoglou to present Words that transform, vibrate
and glow: 13 paintings inspired by the lyrics of Nick Cave.
The exhibition was conceived over a year ago and its timing is prescient; Cave’s latest album, Ghosteen, was released with a
hallucinatory painting as its cover in October 2019. Unprecedented in their visuality and striking in their ability to conjure
apocalyptic landscapes, all the songs on Ghosteen are visions. As Cave embarks on a world tour in 2020, a conversation between
his lyrics and painting becomes all the more relevant.
‘I can’t write a song that I cannot see’, Cave once stated in an interview. Having started his career as a painter, he soon turned to
song writing and over several decades has produced a body of lyrics unparalleled in their consistent richness, unforgettable
imagery, and unique combinations of darkness, humour, despair and hope. Drawn from songs written throughout his career, from
the famed Peaky Blinders signature tune Red Right Hand to the early and more obscure Release the Bats, the thirteen paintings
included in this exhibition are testimony to the fertile but often unexplored territory that lies between the arts. Three of the artists
present are rock musicians: James Johnston was in fact a guitarist for Nick Cave and the Bad Seeds between 2003-2008; Emma
Bennett is the bassist for Dear Thief; and Daniel P. Carter, who also hosts BBC Radio 1’s Rock Show, performs with metal group
Krokodil.
The participating artists represent different generations, backgrounds, and ethnicities and they approach their art in different
ways. Each one has ‘seen’ their painting in Cave’s lyrics in a reverse trajectory to that of the poet. Connecting word to world, the
paintings in this exhibition occupy the space in between, opening up new imaginative possibilities. Deeply personal, unexpected
and moving, poetry meets image in these thirteen powerful paintings that stretch our sensory and spiritual boundaries.
Please contact gallery for images and further information