October 23, 2011 1 Comment
Last weekend, the Sluice Art Fair exhibited works from different organisations, including ALISN –
who, in the past, has consistently supported artists with many wide-ranging perspectives.
Rather than fit art in neat little categories, ALISN– run by artists Iavor Lubomirov and Jordan Dalladay-Simpson – have confirmed a more abstract and eclectic vision.
ALISN’s part in the Sluice Art Fair evidenced once again a mix of genre by exhibiting artists, who are unafraid to mix the abstract with something tangible and solid. These artists have successfully combined strong ideals with mixed media, vulnerability with strength, which ultimately results in a lesson of contrasts.
The work by Michael Petry, an artist in residence at the Soane Museum, is entitled Bad Seed 1. Much can be derived from its’ name, but even more from observing the contours and shape of the piece.
A result of glassblowing, the object is amorphous and almost translucent. It seemingly hangs off of the edge of a black leather bench chair as if disturbing a room that would otherwise be traditionally ideal. The glass object does not interfere with the aesthetic quality of the bench, but simply disturbs the atmosphere.
Still, what is most appealing about Petry’s work is the organic quality.
Like the melting objects in Dali’s The Persistence of Memory, Petry’s object seems to be doing something. Its’ shape is determined by the bench it is leaning upon. Its’ whitish, cloudy colour speaks loudly of something ectoplasmic, something that has a life within.
In looking at the work of Dahlia Westmoreland, there’s no doubt that the artist understands the aspects of Expressionism.
The meaning that is conveyed in her moleskin sketchbook entitled August, evokes emotion and contemplation.
Westmoreland’s use of texture is also interesting; along with the written words around the painted or drawn figures and objects, they remind viewers that the creation of artistic works depends greatly upon the artist’s thought process.
Marq Kearey used gouache, paper and board to create Painting in the Shape of Poland, a piece that seems to have
multiple meanings. There are two holes cut out of the board, one of them where the city of Warsaw would be. The connotations are undoubtedly political, however, viewers are also compelled to notice some of the simple messages of Kearey’s piece.
The missing hole causes the piece to resemble an artist’s palette; therefore, the meaning, after all, is that the work is both art as well as a tool that the artist is using to convey a message.
If the works of Mark Rothko’s late period has taught the art world anything, it is the power and meaning that can be conveyed through windows. This aspect of art is reiterated in The Fold; Collapsibles, and Their Reductive Space by William Angus-Hughes.
Using window and picture frames attached by hinges, Angus-Hughes creates perceived new spaces. Yet, the structure takes up physical space of varying degrees depending on the angle in which each part is folded.
Bella Easton’s Blind has a surreal quality that proves to be both separate and whole in the continuing geometry of squared patterns. Copper plated etchings printed on graphite and paper, “Blind” depicts a seemingly gothic design.
Yet, there is also beauty and tranquility in the light that surrounds the darkness. While the spiny design that resembles the branches of a tree speaks of knowledge and eternity, the smaller details suggest everyday life.
Further works in the ALISN portion of the exhibition were equally compelling, featuring artists Matt Blackler, Brian Hodgson, John Gibbons, Mandy Hudson and Denise Hickey.
For more information about the Sluice Art Fair, visit www.sluiceartfair.com