From Here to Eternity, Gavin Nolan, 2014, Oil on Canvas.
Back to the Drawing Board, Joella Wheatley, 2014, Oil, Acrylic, Pen on Canvas.
Melody 2014, Wendy Mayer, Vanity case, painted reborn doll parts, mohair, baby nightdress, music box movement. 28 x 36 x 26 cm
The Dance, Claire Partington, 2014, Earthenware, Tin Glaze, Enamel, Luster
The Awakening Conscience, Mr and Mrs Phillip Cath, 2014, Oil on Canvas
Air Heads, Emily Motto, 2014, Rising dough and found objects
C.O.C.K, Oliver Clegg, 2014 (how many cocks can you count?)
New Jersey, Sarah McGinity, 2014, Oil on Canvas
Untitled, David Sailva, 2014, Beewax and Wood
Unknown Artist, The Future Can Wait 2014
It’s become a good pairing because you can see the development in artists’ work from those just starting out to the more established in the next room. Plus it’s interesting because inevitably a lot of artists that first show in New Sensations then exhibit with The Future Can Wait a few years later.
One thing that’s noticeable between the two exhibitions is the difference in approach to sculpture and installation. The TFCW’s has more refined, tongue-in-cheek artwork, but with this sacrifices a more playful approach to things. New Sensations displays a number of different large found-object arrangements and earthy land art style pieces. The sort of pieces that take influences from the late 70’s movement such as Woodrow and Long. The outstanding contribution comes from Daniel Silva who uses materials such as beeswax and found wooden items to create wholesome and effective compositions.
Another artist featured strongly in the NS show is Emily Motto whose clever use of playdoh and rising bread oozing slowly through porous materials in luminous colours creates ever changing, playful installations.
TFCW was exhibiting the surreal work of an Wendy Meyer who has made touchingly comic waxworks of new-born babies – they are so small they can fit in gravy boats, jewellery boxes and wine crates – referencing the work of Ron Mueck.
Also showing was Claire Partington‘s incredibly fine ceramics depicting two Tudor ladies with detailed finery having a fight so violent it has drawn blood.
One more thing to ponder on. A macabre oil painting by Mr and Mrs Phillip Cath called The Awakening Conscience. Is this something to make us think twice about eating pigs? According to scientists a full grown pig has the mental age of a 1.5 year old, so is this a depiction of the pig’s awakening conscience as well as ours? Answers in the comment box please (or a postcard if you’d prefer).
New Sensations and The Future Can Wait are on until the 18th of October 2014
B1 . VICTORIA HOUSE . BLOOMSBURY SQUARE
London . WC1B 4DA . UNITED KINGDOM . 11AM – 6PM