Bill Woodrow

New Sensations and The Future Can Wait ’14

 

Gavin Nolan

From Here to Eternity, Gavin Nolan, 2014, Oil on Canvas.

Joella Wheatley, Back to the drawing board, 2014

Back to the Drawing Board, Joella Wheatley, 2014, Oil, Acrylic, Pen on Canvas.

The Future Can Wait 2014

Melody 2014, Wendy Mayer, Vanity case, painted reborn doll parts, mohair, baby nightdress, music box movement. 28 x 36 x 26 cm

The Dance Clarie Partington

The Dance, Claire Partington, 2014, Earthenware, Tin Glaze, Enamel, Luster

Mr and Mrs Phillip Cath

The Awakening Conscience, Mr and Mrs Phillip Cath, 2014, Oil on Canvas

Air Heads, Emily Motto, 2014

Air Heads, Emily Motto, 2014, Rising dough and found objects

C.O.C.K, Oliver Clegg, 2014

C.O.C.K, Oliver Clegg, 2014 (how many cocks can you count?)

New Jersey, Sarah McGintity

New Jersey, Sarah McGinity, 2014, Oil on Canvas

 Untitled, David Sailva

Untitled, David Sailva, 2014, Beewax and Wood

Unknown Artist, The Future Can Wait 2014

Unknown Artist, The Future Can Wait 2014

 

Amicably sitting side by side once again is Saatchi’s New Sensations group exhibition, showcasing emerging talent, and The Future Can Wait with their select display of ‘mid-career’ artists.

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

 

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Household furniture in disguise! Michael Samuels at the Rokeby Gallery


Micheal Samuels is a transformer. He transforms banal household furniture into something quite brilliant and rather beautiful – if those are appropriate words for furniture. When you see these sculptures you will see what I mean. These photos do not do them justice.

He trains our eye to appreciate the mish-mash of kitsch melamine (plastic-tabletop) patterns mainly from 50’s diner style furniture, the type that would be in Mrs. Cunningham’s kitchen (from Happy Days fame), combined with LED lights, 80’s desk lamps and G-clamps.

It is an odd selection of objects, but they are not random bunch of gear thrown together. You can see it is a very careful and thought-out process, selecting only pastel reds, oranges, yellow, greens and blues, and cutting and shaping the objects so they are completely re-constructed into whole sculptures from the various separate parts.

It makes you feel like you are in a parallel universe where kitchen and desk apparatus are the art works and marble sculptures should be used to store cans of beans.
He does things like cuts the middle part of a table top into very thin strips, then raises the strips into a perfect semi circle and puts a blue LED light underneath so it shines through. With these sculptures, the more you look the more you find bits in the furniture that he has worked on, bits he has cut out and reinserted in a different form or shape.

There is a direct link to the ‘Deconstructivists’ as they could be labelled, from the 80’s like Tony Cragg and his washing up bottles. Or Bill Woodrow’s guitar cut out from a washing machine.
Samuels’ sculpture also harks back to good old Kurt Schwitters –although Schwitters’ selection process consisted of bringing home rubbish he found on the street, much to his wife’s dismay!

It is refreshing to see that this type of art is still alive and progressing, years after the YBA’s saturated the British market with their brash and egotistical art and had seemed to obliterate the gentler and more outward looking instillations such as this. Everyone can appreciate Samuels’ art.

See examples of the Deconstructivists :

Bill Woodrow – Twin-Tub with Guitar 1981
http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=16465&searchid=10985

Tony Cragg – Britain Seen from the North 1981
http://www.tate.org.uk/servlet/ViewWork?workid=2918&searchid=16207