New Art Highlights
21 - 27 February
New Art Highlights of the week includes: Liz Clifford, Joanna Kinnersly-Taylor, Olivia Irvine and Susan Francis.
Becoming Geology 3, 2022 by Liz Clifford
There are 30 trillion tons of human generated substances on earth, half of that being urban mass, before we even get to artefacts and packaging. Those artefacts will form the techno-fossils of future geology. Salvaged concrete and brick form layers above a bedrock of chalk, combined with plastic and steel detritus left by recreational users of the countryside of Southern England. Collected over a year from one rural location, these materials are packed into four structures made of gabion baskets, each one also containing a thin layer of moss to illustrate the proportion 1:10 biomass to human-generated deposits of an average square metre of the Earth’s surface. The opportunity to show the piece at Gallery No.32’s Winter Sculpture Park in South London, on an area of reclaimed landfill, adds to the meaning of the work and allows it to become a site-specific response. The structures grow from the grassy surface like core samples of the layers beneath the soil in this iteration of the piece and the vastness of the site allows circulation space between them.
Resonance, 2012 by Joanna Kinnersly-Taylor
Painted and screen-printed Belgian linen.
Once Upon a Carpet, 2021 by Olivia Irvine
This painting is oil and egg tempera on canvas with a bit of collage. It shows a highly patterned carpet with two children. The pattern, seen in perspective is taking over the scene; the children are flatter, as if superimposed. There is a statue of a male torso on a table. The mood is one of daydreaming. The carpet is based on the one currently in my mother's house, although we had long since grown up by then. The painting was part of a family project funded by Creative Scotland and was exhibited in a three person show 'Storyforms' at Patriothall Gallery, Edinburgh.
Interiors, 2018 by Susan Francis
One of a series of fourteen small paintings on glass. The series draws on the online existence of Beth. Neither fact nor fiction, Beth appears arrested, lost somewhere in between, her fragile connections captured in tiny thumbnail images; lovers, relatives, interiors, self portraits, scattered across her internet life. A myriad of ephemeral connections as brittle as the thin glass they are depicted on, the installation resonates with the fragility of its protagonist.