MARGO SCHÖPF: THROUGH A GLASS DARKLY.
22 AUGUST – 12 SEPTEMBER 2019
Following on from her hugely successful “Catharsis” exhibition last year Margo maintains an on-going fascination with our obscure or imperfect vision of reality. The artist wrestles with the idea that from our current human perception it is impossible to see everything clearly, but at the end of time we may understand the truth, the bigger picture, and how it all comes together.
We are seeing a beautiful evolution in Margo’s work where the viewer is invited not to observe the world as the artist sees it but rather to explore more deeply our own observations of the world and the issues that plague us. In this body of work Margo pushes further into abstraction so that we become less aware of the subject matter and more intrigued by the thick textures of paint on canvas and the flashes of bright, saturated colour that appear from beneath scrapes of murky colour. This loss of perspective is a reminder that we cannot see the whole story – there is what has come before and what is yet to come that we do not have full knowledge of. Boundaries are blurred, figures seem to melt into one another, people become creature – this ambiguity nudging us from knowing towards feeling with a sobering reminder of the passage of time ever present.
Margo is not an artist concerned with painting the world without as she sees it, but rather with depicting the world within, as she feels it. Though haunting at times, this is not a body of work intended to shock, but rather a reminder that someone else has felt this too…
JENNY REYNEKE: In Visibility.
6 – 31 July 2019
“Perhaps the world, the land, the earth holds the marks we leave. Mark upon mark of all that has come before us… raw… imperfect. And yet as a whole, all experience, all imperfection gathers to form a new image…”
This collection of 51 works explore ‘In Visibility’ and how the liberation of entering into the middle age phase of Jenny’s life brings with it a focus on the interior workings of her psyche rather than on the outward physical. In this series Jenny grapples with societal perceptions of what constitutes beauty and what is accepted and worthy to be seen as opposed to the truths that she is uncovering which render these societal perceptions irrelevant and powerless. Through this series of exploration on canvas, she exposes the vulnerable within herself and in so doing constructing an acceptance of who she is and what she stands for, whose opinions she is allowed and whose perceptions she rejects.
Ben Skinner: WOOLGATHERING.
23 May – 22 june 2019
Benjamin has spent almost 2 weeks constructing (after many months of planning and envisioning) the most extraordinary environment within the gallery. It feels like you descend under the floorboards of the gallery itself and escape into a different era. As you cower beneath the lowered ceiling, waiting for your eyes to adjust to the dimmed light you begin to decipher objects and people against the walls drenched in ox-blood hues. Every timber slat, as it creaks and snaps under even the lightest tread has been carefully measured, cut and placed. The fold and fall of every fabric deliberate and the light sunk in gloom like an Old Master painting. As to what will fill, happen and unfold within this space we cannot say, for we do not know exactly. The space itself invites every visitor to become, authentically, someone or something else within its grip but without driving this situation. The intention is to create something that grows of its own direction, not always expected and often a far cry from the starting point. With the tension between seduction and dissuasion pulled taut, where opulence is born from dearth, and the refined and the depraved mingle anonymously a fertile environment exists for creation, emergence and for something to come into being of its own volition.
The rich layering of Ben’s installation is continued into the work itself, with the photographs in Ben’s distinctive style printed onto silk, almost a century old, and hand stitched into frames made by the artist. This all harks back to a bygone era and brings to the exhibition Ben’s dexterity as a craftsman besieged by today’s disposable, corner-cutting culture.
The silk onto which Ben has printed his photographs was used as electrical insulation in the 1920’s. With access to only a single roll of this textile a limited number of photographs can be printed onto the silk. Each photograph is a limited edition of just 13 and will be printed on demand until the silk has been used up. Thereafter the photographs will be printed onto archival paper.
The collection includes photographs laid into timber and glass display cases – like cabinets of curiosity. In these cabinets the delicate translucency of the images on silk is beautifully showcased – with light passing directly through the image. These objects become “photographic sculptures” and are sold as a complete unit. The cases are to be admired for the extraordinary construction using Japanese joinery techniques and manufactured in durable, but lightweight, beech wood.