ELIZABETH MAGILL Quasi-Real & Branch-Like 17 May – 30 June 2013
Wilkinson Gallery is pleased to present its third solo exhibition with London based artist Elizabeth Magill. The exhibition on both floors of the gallery brings together a body of work made over the past several years.
Magill works through a sequence of interlinked stages, using a variety of techniques and handling of paint; Works often begin by applying thin washes of oil paint to the canvas surface (often laid flat at this point) - then layers of detailed brushwork are applied – introducing more recognizable elements, often found in nature. However, the initial stages are as much about figuring out of the nature of paint, as nature itself. Magill’s technique chronicles pathways, mistakes and discoveries that occur throughout her painting process. Trees, birds and figures are emblematic of their original forms, but are transformed, so that they become feelings or indications, markers in the creation of an overall atmosphere.
Magill studied at the Belfast College of Art and later completed an MA at Slade School of Fine Art, focusing continuously around painting and its manifestations. She began exhibiting in the mid 1980s, with her first major solo exhibition at the Arnolfini Gallery, Bristol in 1990. A principal theme of Magill’s paintings is this notion of landscape. Her paintings hint at a romantic sublime. An aesthetic that acts as a backdrop and opens itself to further interpretation.
With Dendriform 10 , 2012, Magill articulates her painting process further by transforming and abstracting the subject. ‘Dendriform’ means branch-like. Thick coverings of paint mark the surface, manifesting in heavy interconnected structures that fill and visually stretch the canvas to all its dimensions. The brushstrokes alter their existence, reminding us that they are suggestions and not reality. We can almost see traces of the buried pencil-lines that began the process. The marks begin as branch-like structures but can quickly take on other alternative shapes or forms, found not in art, but neuroscience - dendrites connecting neurons, or routing paths, reminding us of the interconnected web-like activities of daily life. Through the process of painting, images can emerge: full moons fill unknown landscapes acting as bright discs - flocks of birds scatter and puncture the canvas. Each image is on the edge - just like at dawn or dusk - it could tip either way. What we are looking at could just as easily disappear back into the paint, or emerge as an illusionistic land. Are these paintings dystopic scenes or are we an audience to a utopian pastoral idyll?
Elizabeth Magill lives and works in London. Solo exhibitions include; Ikon Gallery (2004), BALTIC (2005), Milton Keynes Gallery (2004), Hugh Lane Municipal Gallery, Dublin (2003), Southampton City Art Gallery (1999), Arnolfini Gallery, Bristol (1990). Group shows include: St Barbe Museum (2013), Crawford Musuem (2008), Irish Museum of Modern Art (1995), Salzburg Kunstverein (1991), Hayward Gallery (1990) and Serpentine Gallery (1990). Her work is in numerous public collections including Arts Council of Great Britain, Arts Council of Northern Ireland, British Council, Deutsche Bank, Dublin City Gallery, The Government Art Collection, The Hugh Lane , Irish Museum of Modern Art, National Gallery of Australia, Neuberger Berman Collection, USA, Southampton City Art Gallery, Towner Art Gallery and Museum, and Ulster Museum.
Icelandic nature is prominent in Eliasson's work, and his artistic relationship with it often involves collection or documentation that is scientific in tone. The country becomes a sensory laboratory where ideas can be developed and evolved into art, as evidenced in the multiple photographic series that would seem to witness a near compulsive need for collecting.
TAKA ISHII GALLERY, Tokyo presents NOBUYOSHI ARAKI - EroReal
7 June - 27 July 2013
Magazine pin-ups aren't interesting, are they? Especially now that they're shot digitally, they lack eroticism. They're doing it wrong. That's why I had to come in. It's not about an ambiance or concept; it's about being real. Not realism, but real?ero-real. I have to say it straight. It's not about nudity; clothed subjects can be erotic.
The approach, London presents JACK LAVENDER - Dreams Chunky
6 June - 28 July 2013
Jack Lavender draws from a world of mass-produced objects, transforming their singular banality through their composition within such structures as grids and metal armatures. Sitting between the disciplines of painting, sculpture and collage, Lavender brings different elements together to create a new entity.