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Tom Chamberlain, Jane Harris, Chris Hawtin, Jason Martin, Katie Pratt and Danny Rolph
Kontainer Gallery is proud to present a survey of abstract British
painting curated by Chris Hawtin and Katie Pratt.
Participating artists
are: Tom
Chamberlain, Jane Harris, Chris Hawtin, Jason Martin, Katie Pratt and Danny
Rolph.
The use of the expressive, lyrical gesture was a criterion of the value
of Modernist painting during the post-war period. After reaching its
culmination in the work of Jackson Pollock, the signature of gesture was
left, seemingly, with nowhere to go. If Modernism was relying on
gesture, then it had no place in the avant-garde. Consequently,
Modernism collapsed, along with the legitimacy of painting. Of course
painting survived the crash, but the nature of gesture's importance
within painting has changed. This exhibition will explore how six
artists have taken the concept of the Modernist expressive gesture as a
catalyst for a more playful, ironic sensibility for painting.
TOM CHAMBERLAIN
Tom Chamberlain makes repeated marks, which travel in an ovular arc from
one edge of the canvas to another, in near water-thin white over a black
ground (or vice versa). An image is gradually created as the painting
turns from dark to light where the lines repeatedly crisscross. When the
process is halted, the canvasses are often close to pure white,
retaining faint images, the ghost of the ground color and the tracks of
the brush, hovering within a painted field. In an inversion of
expressionism, the images are invoked in the areas with the least marks.
JANE HARRIS
Working within the pre-set format of one or more ellipses inside the
rectangle of the canvas edge, Jane Harris plays with the pre-conceptions
of late Modernist ideals. The initial relationships within these
compositions seem to center around order and regularity, yet the
methodical iterations of the brush marks, and their change in size and
direction from one part of the surface to another, disrupt and distort
this interaction. The boundaries between ellipse and rectangular ground
become starkly emphasized, causing a dissonance between different
sections of the work. Through the formalization of the gestural brush
marks Harris invokes the de-formalization of the balance and symmetry
within the paintings.
CHRIS HAWTIN
Chris Hawtin's work utilizes a marbling process combined with paint,
worked, in one session, onto a blank canvas. The surface is manipulated
gesturally, yet the finished work, through the materials used, has
little evidence of its process, resembling something drawn or printed
rather than painted. The surface is flat but for the traces of the
'event' in the flow of the marbling and the raised areas of paint, which
act as clues as to what has occurred. Hawtin's paintings appear to have
formed over an indefinite period of time rather than having been
'created' in a moment.
JASON MARTIN
By reducing the expressive gesture to its most basic component - the
single brush stroke - Jason Martin creates a new way to open up
pictorial space. He applies an ultra-Minimalist approach to a Modernist
agenda, making a mark, which stretches, from one side of the support to
the other, the nature of the mark means that it can be read across the
surface, tracing the gesture. Yet it is only when we release the
paintings from the process of their own creation that the 'fact' of the
recorded moment elides into realm of poetic suggestion within the
imagined space of the work.
KATIE PRATT
Katie Pratt's work involves a complex mapping out of an initial gesture.
Paint is thrown, poured or roughly brushed onto a surface, which
consequently initiates a developing language of systems that crawl
across the surface as Pratt explores what it is that must be done to
follow her decisions to their limit. Each painting demands its own set
of rules, which, once decided and acted upon, cover the painting's
surface in an intricate web of marks. The speed of the painting is
dramatically transformed as the network of mark making usurps the
gestural initiation of the work.
DANNY ROLPH
Danny Rolph deconstructs the material form of a gestural painting and
re-presents it with alternative materials and found objects. These
montages, whilst sparing in their use of paint, relate closely to the
gestural works to which they refer. The found objects are utilized as
representations of gestures; thus a ball of partly unraveled wool
becomes a spindly mark leading to a proliferation of frantic actions.
Often the objects are trapped between the sheets of Perspex and macralon
plastic, which constitute the 'ground' of the painting, and invoke the
illusionistic space within it. Paint itself is also used on the reverse
side of the Perspex, giving us the shape of the mark without its
physical properties. That these constructs sit on the floor a lean onto
the wall allows the represented marks to drift from the imagined
confines of the work onto the wall or floor itself, breaking free from
the traditional frame of the canvas.
In the image a work by Danny Rolph
Opening Reception: Saturday, May 3, 2003 / 6-8 pm
Dates: Saturday, May 3 - May 31, 2003
Contact: Luana Agiu
Gallery Director
Gallery Hours: 12 - 6 pm, Tue - Sat
Venue: Kontainer Gallery
6130 Wilshire Blvd.
Los Angeles, Ca 90048
Tel: 323 933 4746
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