From Centre, an exhibition of reductive abstract works, curated by Saturation Point and Slate
Projects was on view at The Loud & Western Building, from 11 April to 26 April 2015 showing the following artists:
William Angus-Hughes, Rana Begum, Martin Church, Nathan Cohen, Rhys Coren, Natalie Dower, Judith Duquemin, Julia Farrer, Ben
Gooding, Lothar Götz, Hanz Hancock, Tess Jaray, Silvia Lerin, Peter Lowe, Patrick Morrissey, Laurence Noga, Charley Peters, Richard Plank, Giulia Ricci, Carol Robertson, Robin Seir, Steve Sproates and Trevor Sutton.
Installation shot, from left to right works by Laurence Noga, Patrick Morrissey and Martin Church. Image by courtesy of Slate Projects.
It’s an impressive line up, spanning several
generations of artists, born in every decade from the 1930s to the 1980s, and making a convincing case for the growing relevance of abstract art in the UK.
Installation shot, works from left to right
by Natalie Dower, Martin Church, Julia Farrer, Rhys Coren, Laurence Noga. Image by courtesy of Slate Projects
Thinking about abstraction’s continued relevance may require me to at least mention Zombie Formalism,
(“Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg”), if only
to suggest that the term, coined by artist -critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway
than the version associated with Greenberg and Fried. It is Constructivism I have in mind, its UK variant Constructionism and the Systems
Group, which for the artists atFrom Centre are more central than Abstract Expressionism etc.
The reductive (but not necessarily essentialist or straightforward) works on view at From Centre seem
to me to be a genuine attempt at continued participation in a living, though contested, tradition.
Installation shot, works from left to right by Julia
Farrer, Robin Seir, and Tess Jaray. Image by courtesy of Slate Projects
In Dower’s 2013 Painting Polymorph, a subtle pink rectangle is halved down the middle, from which the central point of a pale yellow
circle is found, and within that circle a white rectangle beneath an irregular black triangle are positioned. Or maybe there is no “above” or “beneath”, a rectangle within a circle is divided into three different shaped triangles, two
white and one black. Alternatively, we simply have a rectangle divided into nine other shapes. The figures and their relationships are not random but calculated mathematically, the parts being strictly determined by the whole, to my mind the most elegant definition
of a system. The painting has subtlety, serenity, beauty and a little excitement too, with its alternating views and the slight after-imaging taking place.
Natalie Dower, Polymorph, 2013, oil on canvas, 61 x 86.5 cm. Image
by courtesy of the artist.
Other artists here who employ mathematical or numerical systems include Peter Lowe, a former member of the 1970s Systems Group founded by Malcolm Hughes and Jeffrey Steele. He defines systems in his
work as “a way of communicating an intelligible idea in terms of shapes colours and forms, or an organisation principle that I predetermine and allow to run to see what the outcomes will be…” In his painting here, Triangles within
a Dodecagon, he takes the regular twelve sided shape as its starting place and bases an equilateral triangle between two of the vertices, or along one of the sides. A second triangle is found by taking the base across three vertices, a third across four
and a fourth across five. The fourth triangle being the last one that can be produced by following this process, is exactly central, each of its sides spanning four sides of the dodecagon. In the painting here the resultant figures are positioned on a square
canvas, losing the surrounding dodecagon altogether. The colours, black, white and red create four planes: a white ‘background’, in front of which is a plane including the largest and smallest triangles in black, in front of which is the red triangle,
in front of which is the white triangle. Of course they shift creating varying perceptual gestalts.
shot, from left to right, works by Peter Lowe, Rana Begum and Nathan Cohen. Image by courtesy of Slate Projects
There are shifting gestalts in Rana Begum’s painted relief, No. 317, the actual three-dimensionality
of the piece, combined with the movement of the viewer results in multiple variations of form, whereas in Charley Peters’ fascinating painting Plexus we are presented with the illusion of flatness within an illusory three dimensional
In Giulia Ricci’s Order Disruption Painting there’s something strange going on spatially, the patterned repetition of a triangular motif creating something akin to a systemic field which breaks
down in places as the pattern is interrupted, resulting in the appearance of wormholes or spatial anomalies that can also be interpreted as twisting forms caught in the net of the surface whilst at the same time forming that surface. For me, her work
explicitly links system to visual pattern.
Giulia Ricci, Order/Disruption Painting no.2, 2012, Laser engraved laminated board
and acrylic paint, hand painted, 61 x 101 x1.8cm, Edition of 3. Image by courtesy of the artist
All the artists in this show, perhaps to varying degrees, share an interest in system and/or series. The two tend to go together
when a numerical system is being explored. However Julia Farrer’s Knot in Time, seems more to be the product of an entirely empirical enquiry. In both approaches I think there is a search going on, not for the one definitive statement but
rather for knowledge. The traditional notion of the masterpiece is challenged, just as it seems totally out of step with our post-digital experience. With Farrer perhaps we have series but not necessarily system, with Laurence Noga I think we have both,
but the system is more operational than mathematical.
Yet, each work in this exhibition does command attention as its own thing, perhaps the title of Carol Robertson’s painting Aura is suggestive of this. Whilst
in the work different coloured bands surrounding a circle might be likened to an aura, I wonder if that famous Walter Benjamin opposition between mechanical reproduction and the aura of the single artwork is also being referenced. Paradoxically, the serial
methodology both challenges and upholds the singularity of each individual piece: singular within series, one but not all.
There may exist differences in emphasis between the generations represented in this exhibition. Perhaps the
older artists show more interest in structure in comparison to the younger ones who may appear as interested in the breakdown of order as in its establishment. Contrasting, say, the Trevor Sutton painting Christow with Giulia Ricci’s Order
Disruption Painting, could reinforce this view, as might opposing the serene geometry of the Natalie Dower to the visual excitation of Patrick Morrissey’s work, or the stability of Sutton with the kinetic, off- balance effect of Morrissey (see image
below), and I know I am going too far in contrasting the contained circularity of Farrer’s Knot in Time or Robertson’s Aura with the eccentricity of Martin Church’sDefinitions (Study No. 3),
because mostly what I am finding here is continuity.
Installation shot, from left to right works by Trevor Sutton and Patrick Morrissey. Image by courtesy of Slate Projects
Without succumbing to the much
too linear (non-systemic) notion of progress, I do want to suggest that these generationally diverse artists, in their shared commitment to an economy of means and a formal language, rooted in the tradition of constructivism and systems art, continue to develop
this rich field of artistic activity.
Watch this space!
(There is an illustrated catalogue accompanying
the exhibition, with excellent essays by Nathan Cohen and Laura Davidson and an introduction by Alex Meurice.)