The Performativity of Painting, The Stephen Lawrence Gallery, University of Greenwich Galleries. Opening hours: Tuesday - Friday 11am - 5pm, Saturday 11am - 4pm, until 16 February 2018
The Performativity of Painting, Artists' Talk, University of Greenwich Galleries and Creative Conversations
‘An experience of an artwork is an embodiment of space, within the work and around the work – the experience of the temporal’
The Creative Conversations initiative and University of Greenwich Galleries invite you to join the artists of the current Stephen Lawrence Gallery exhibition, on the afternoon of Saturday 10th February, to view and experience the work and to discuss the performative nature of painting.
‘What is the relationship between the artists and their artwork? What role does the gallery space serve in the staging and meaning of the work? How does the ‘framing’ of the gallery space alter the experience of the viewer? How can an artwork behold a viewer? How can a curation of works create thoughtful dialogue individually and as a collaboration?’
These are some of the topics that will be considered in an open forum with the artists Tobias Buckel, Liz Elton, David Lock, J.A. Nicholls, Selma Parlour, James Pimperton, Rebecca Molloy guided by participating artist and curator Alex Roberts.
For further details, and to register the event, follow the link on the Eventbrite page here
Schedule of the event: Saturday 10 February 2018, The Stephen Lawrence Gallery, University of Greenwich Galleries
1.30-2pm arrivals – Coffee, tea and cake provided
2pm Rebecca Molloy performance
2.30-4pm Public panel, open discussion, Q&A’s. Introduced and guided by Alex Roberts.
 Linday Seer’s commentary, elevated from the final panel discussion of the conference, ‘Folds in Time: Artists’ Responses to the Temporal and the Uncanny’, hosted by The Freud Museum, 4th July 2015. Part of The Freud Museum Festival of the Unconscious.
A choreographed meeting.
16 January – 16 February 2018, The Stephen Lawrence Gallery, University of Greenwich Galleries.
Artists: Tobias Buckel, Liz Elton, David Lock, J.A. Nicholls, Selma Parlour, James Pimperton, Rebecca Molloy, Alex Roberts
Painting – the performance of structures, fragments and use of space within the perceived painted frame, and the relating inherent surround.
In bringing together these artists, through their distinct individual accounts and methodologies, the exhibition, The Performativity of Painting offers the opportunity to consider site-specificity, theatrical tropes, depicted surfaces, staging and the interconnectedness of the artwork’s context (in the works’ content and proximity). In this sense, the exhibition will seek to address painting's embodiment of the performative space. Curator: Alex Roberts
To access the full press release please download here
Opening hours: Tuesday-Friday: 11am-5pm, Saturday: 11am-4pm
Private view: Friday 19 January 2018, 6-8pm
Artists’ Talk: Saturday 10 February 2018, 1.30-4pm. To reserve a place please register here
Contact: Gallery Curator, David Waterworth email@example.com www.greenwichunigalleries.co.uk
STEPHEN LAWRENCE GALLERY, University of Greenwich, 10 Stockwell Street, London, SE10 9BD, Tel: 020 8331 9954
We would like to thank Dr. Ken Wilder for his insightful text, written specifically to accompany the exhibition. To download a copy of the E-Catalogue please click here
Dr. Ken Wilder is an artist and writer. Having practiced and taught architecture, he now makes site responsive installations and films. Based at Chelsea College of Arts, he is the University of the Arts Reader in Spatial Design. He has published widely on issues of reception aesthetics, including Bloomsbury’s 2016 anthology Painting: Critical and Primary Sources.
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“I have visited 5,000 painting-based shows this century. Yet there are approaches in the gesturally-themed group show ‘Control to Collapse’ which I can’t recall seeing in any of them.. “ Paul Carey-Kent. Read more...
“Paint records the most delicate gesture and the most tense… Paint is a cast made of the painter‟s movements, a portrait of the painter‟s body and thoughts.” James Elkin, What Painting Is, 1955
The 'gesture' is defined as a movement, usually conveyed by the hand or head, that expresses an idea or meaning. When accompanied with speech, it can articulate, emphasise, create humour or angst. In painting, the gesture has a loaded history. Most commonly associated with the abstract expressionists like Willem De Kooning, Lee Krasner or Joan Mitchell, it held alchemical accord, with the ability to imbue painting with the emotional charges of joy, anger or melancholy directly from the artist’s hand. Now emptied of those grand accreditations, the gesture takes on a more functional role. In an age of image proliferation, the gesture is a unique device or mode of language that is crucial in relaying a painter’s conceptual concerns.
The artists in Control to Collapse feel, interpret and respond to the viscosity of pigment and the absorbency of surface to find painterly gestures that take an active role in conveying meaning. Through this tactile connection with their materials, these artists draw on bodily intellect and let muscular memory guide the application of paint. They are acutely conscious of the gestural act as a device for communication and find movements and motions that allow ideas to be soaked into the surface of their work.
This exhibition navigates a variety of gestural acts, from an intricate slicing that causes oils to take on the healing qualities of flesh; to broad swathes of paint that engulf the gallery and interrogate the psychological qualities of the spaces we in-habit; or rapid washes of thinned oils that create aqueous scenes of transparent and luscious landscapes of vegetation to address politically charged themes of excessive water consumption. It explores the gesture’s role in communicating the wider concepts explored in the featured artists’ respective practices.
Control to Collapse is curated by Rebecca Byrne and Liz Elton, the title aiming to encapsulate the range of gestures these nine artists employ, from the tightly controlled to a point where the gesture is undermined and almost allowed to disappear. Under the name ‘PaintUnion’, Rebecca and Liz have collaborated on a number of talks about painting and other projects, including ‘Pool’ at Griffin Gallery and PIY PaintLounge at Sluice Biennial (with Wendy Saunders and Paula McArthur of paintbritain). They are very grateful to Niamh White, co-founder of Hospital Rooms and founder of the Den-tons Art Prize for writing Control to Collapse’s introductory text.
Download the full press release here