Block 336 presents Sarah Roberts & Mark Jackson
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Sarah Roberts & Mark Jackson
Torremolinos-Tableaux-Tongue-Twister (After Sun) | Gallery 1 Sarah Roberts
Face Is e Closest | Gallery 2 Mark Jackson
PV: 7th April Exhibition: 8th April - 6th May 2017
In conversation: 28th April
Opening hours: Thurs – Sat 12 – 6 pm
Torremolinos-Tableaux-Tongue-Twister (After Sun) - Sarah Roberts
Block 336 presents Torremolinos-Tableaux-Tongue-Twister (After Sun), a new site-specific installation by Sarah Roberts and the first solo presentation of the artist’s work.
Sarah Roberts collects surfaces, and her practice demonstrates an ongoing interest in the momentary encounters with the actuality of the world – primarily with the visible surface of architecture, landscape and the body.
She is as arrested by a carpet tile from a mid-Wales social club as she is by a vista of a seemingly endless desert and her works focus on moments in which such peripheral surfaces or epic vistas can be seen as (but not reduced to) collisions in colour and form. Once perceived in this way, surfaces become ripe for the picking and ready to be peeled off and stretched over re exive prints, textures and forms like some essential recycling or re-strati cation of the material world.
In Torremolinos Tableaux Tongue Twister (After Sun), the surface of the popular tourist destination Torremolinos has been transformed into a eshy, ashing place of red limbs in lycra suits, slipping and sliding out of swimming pools and dripping down rendered walls. Provenance of place is not hidden, but also not overtly explained as at the work goes way beyond representation. (After Sun) is the second stanza from Torremolinos.
First exhibited in 2016 as part of the BAS8 Associates programme at HaHa Gallery, Southampton, the same work has been re-cast for Block 336 in a blood-shot, late-night form.
On entering the gallery, the viewer is invited to investigate an environment of red excess. Two tons of ruddy gravel spilled like a ailing fat tongue stretches out through the space. Hand-cast plaster pieces, found objects, glass, rubber and glitter are nonsensical material utterances, and large-format images of everyday surfaces have been smoothed over the existing gallery walls and oors. In creating these landscapes, vistas or re exive objects, Roberts wants us to consider the reality of our constructed surfaces and how they inform the narratives we create. She terms this approach, ‘a casual politic’ that instead of ‘shouting the odds’ – creates a vantage point from which to gaze out onto the terror and appetite of our newly made realities.
Sarah Roberts is a Welsh Artist currently living and working in London and Wales. Recent exhibitions include SellYourSelf East Street Arts, Leeds; I’M Feeling So Virtual I’m Violent [BAS8 Associates] HaHa Gallery, Southampton. P A N D I C U L A T E [ e Joy of Stretching], e Koppel Project, London; The London Open 2015, Whitechapel Gallery, London; Graduating from Chelsea College of art in 2014, she has since been selected for the 2015/16 Into e Wild Residency Programme, Chisenhale, London, ACAVA / ArtQuest Lifeboat residency 2014/15; e Parasol Unit Exposure Award 2014, and Saatchi New Sensations, London, 2014.
Face Is e Closest - Mark Jackson
Block 336 is pleased to present Face Is The Closest the first solo exhibition of paintings by London-based artist, Mark Jackson.
In his intensely complex and multi-layered oil paintings, Mark Jackson explores the many qualities of the lone human subject.
Broadly inspired by the history of figure painting, his distinctive personal vision re-situates the human form in a new imaginary realm, presenting us with a series of intense and meticulously rendered portraits.
There is a subtle, yet fundamental philosophical dimension to Jackson's take on the face. The legible face is one that signi es in order to communicate – it is the chief signifier in an ordered and intelligible world. The illegible face by contrast, is one that refuses to signify in the usual way. is is the face that emotes ineffectively, whose characteristics are hard to 'read' and whose actions appear uncoordinated and misleading. For Jackson, these faces pose an essential challenge to the very possibility of interpretation, and perhaps mirror an unreadable and unreachable inner world.
Jackson's paintings are at once alluring and unknowable. They draw the viewer in through seductive surfaces, softly psychedelic light, and the use of human scale. At the same time, his images evoke a pervading sense of disconnectedness – they can appear longing and thoughtful, or blank, anomalous, and sometimes menacing.
In his making process, images pass through different mediums, picking up traits and characteristics along the way. Often starting life as charcoal sketches on paper, they are converted to oil sketches, digital files, prints and collages, and then back into paintings. This process simultaneously constructs and dismantles the face.
If one phase establishes features or expressions, another will abstract and complicate them. For Jackson, this approach creates a chaos from which his singular visions emerge.
The Twentieth Century's tightrope between abstraction and guration is a key influence on Jackson's practice. He finds a powerful productivity in the indeterminacy and evasiveness it offers, and seeks to walk this line in order to face its consequences and re-de ne its boundaries.
Mark Jackson is a London-based artist. Recent exhibitions include Making the Nature Seen (2016), Tannery Projects, London and Delta (2015), Five Years, London. In 2013 he curated an international group exhibition Everything Wants to Run at Block 336, which explored ideas of material transmutation across different media. He worked collaboratively with Charlotte Webb from 2003 to 2010 and exhibited as Jackson Webb in the UK and abroad including: Bad Moon Rising, curated by Jessica Silverman and Jan Van Woensel; An Experiment in Collaboration at the Jerwood Space, London; and Bloomberg New Contemporaries 2007.