The Stuart Shave Gallery has moved from its trendy East End roots to Central London.
Never mind all this economic down turn, that I can’t afford to buy bacon anymore attitude. And I mean bacon rashers not Francis Bacon, by the way.
For a fair few galleries over the last couple of years the lure of Mayfair and Fitzrovia, its classy surroundings and convenient location, has broken some of the hardcore Bethnal Greeners.
These two districts are on the up when it comes to Contemporary Art.
Does this mean you’ve made it as a gallery? In the old-fashioned sense of it, you have. You are upgrading, upsizing or whatever. But is it at a cost? Does it make the art you are exhibiting seem less edgy and exciting because you’re not looking at it in some dive Saatchi mite have found something 10 years ago? Have you moved too far from where the artists you are exhibiting are producing their art?
A question I leave open.
Stuart Shave architecturally, is a smart gallery. Using the continuing white cube effect, similar to Parasol Unit actually (although smaller and not so dominating, more of a cosy space) it is a chic and well planned.
Last night I went there for the opening of the Barnaby Furnas exhibition. The American with a graffiti background now turned good boy.
Three different series of paintings made up the show.
There are some deeply black paintings, Rothko style, dripping with thick and moody colour.
Then there are his Flood Paintings, which are textural works, beyond straight painting. They are produced from methods including burning holes in the canvas, scraping into the surfaces and saturating the canvas with paint as it is suspended at various angles producing dripping effects. Either abstract or with figures in them, sometimes involving religious icons.
Famed for his passionate ‘action’ paintings, the third series takes a different turn into somewhat uncharted territory for Furnas.
The Rock Concert series focuses on reducing the images of famous rock bands on stage into geometric, stylised compositions.
Reminiscent of 1910-20’s painting like The Futurists or David Bomberg, such is the reduction of form into shape and pattern that the end result is a filter effect like what you would see if you took magic mushrooms at a Joy Division concert. Or perhaps, just before you where about to faint at a Joy Division concert. Whatever. I am seeing patterns!
Nu –rave luminous oranges, pinks or greens fill each of the huge canvases in this series and disco balls come centre stage in the electrifying light show. Some of the singer’s heads are painted several times producing a basic motion effect. Lighters, hands, advertising banners, all in minute detail bounce your eye around the painting.
So different from his angry emotion ‘full’ paintings these are cool, tidy paintings of special effects rather than feeling.
This exhibition sees Furnas move from his violent and moody works to (dare I say it) a lighter ‘fun’ type of art. And personally I think you shouldn’t knock a bit of fun.
Stuart Shave/Modern Art
23-25 Eastcastle Street, London W1
27 June – 27 July 2008
Untitled (Flood), 2007
Urethane, dye and dispersed pigment on linen
244 x 183 cm / 96 x 72 ins
Rock Concert (Joy Division), 2007
Urethane, dye, pigment dispersion, coloured pencil on linen
264 x 427 cm / 104 x 168 ins
Before the Cross III, 2006
Urethane and dye on linen
First panel 76.2 x 62.9 x 3 cm, second Panel 79.4 x 62.9 x 3 cm
Courtesy the artist and Stuart Shave/Modern Art, London
Copyright Barnaby Furnas, 2008
for Rock Concert image