17-18 Golden Square, London W1F 9JJ
T +44 (0)20 7494 1550 ~ F +44 (0)20 7287 3733
Published in Plinth, March 2016
Bockelt’s work is a fitting avenue for discussion of the exhibition as a whole. Abstraction, we learn, is often very highly stylised – it is frequently anything but random, and there are frequent nods to mathematics and physics. Waves, geometry, symmetry and tessellation can read cold when represented visually, but become imbued with a new significance when the logic behind their creation is laid bare. Massimo Bartolini’s piece, ‘Untitled (airplane)’ was another favourite, and also illustrates the potential for harmony, rather than tension, between our conflicting desires for order and freedom.
Published in The Art Newspaper, February 2016
Yet again proof positive that artists make some of the best curators, with Jeff McMillan’s small but perfectly selected exhibition of works by an eclectic span of artists that riffs on the richness and scope of the abstract drawing. Or, indeed, of drawing in general—with many materials and means of production here extending way beyond a line on paper.
Published in ArtNet News, February 2016
“The museum is only for sculptures. We won’t be drilling hundreds of holes into the walls and hanging pictures here,” Schütte told Deutschlandfunk. “What’s missing is a large exhibition space for sculpture; there’s lots of spaces here in Hombroich, but they’re only white cubes. Pictures, photos, video—that doesn’t really interest me. This space is meant for sculptures.”
Related artists: Thomas Schütte
Published in Open Magazine: Voices, February 2016
I am in Dayanita Singh’s Museum of Chance. And what I chance upon first, before I see the walls and read them, is a book. Or, is it one? It has the appearance of a usual coffee table. On the cover is the mournful ‘faces’ of a calf, a frozen sculpture, a suspended animation. What you miss—sorry, what you do not miss—is a name. No title, no author name, to prepare you for the journey, and sometimes, it is pure bliss not to be hooked. Turn the pages and you are inside Dayanita Singh’s Museum of Chance, published by Steidl, and there are no words to distract you in the rustle of pages, only the randomness of black and white, held together by the viewer/ reader’s sensory powers.
Related artists: Dayanita Singh
Published in Art Review, January 2016 ( January & February 2016 146 )
Twelve dilapidated cast-iron bathtubs arranged in a four-by-three grid line the gallery floor. Above them, set into the wall at head height, is a marble recess containing a small sealed box. Inside, we’re told, is a shark’s eye. As with religious reliquaries, we take the truth of the hidden contents on trust, but the votive suggestion is enough to give the glazed aperture the character of an eye watching over its cracked and corroded disciples.
Related artists: Dorothy Cross
Published in Open The Magazine, December 2015
In the late afternoon winter light, Dayanita Singh’s ‘Museum Bhavan’, made up of her collection of nine ‘mobile museums’, looks solemn and spectral. Thin, white textiles cover some of these structures, which occupy most of the living room of her south Delhi home. In the coming few days, these cabinet-like contraptions will shift to Kiran Nadar Museum of Art (KNMA) in Saket, New Delhi, and stay there for the next six months.
Related artists: Dayanita Singh
Published in The Art Newspaper, December 2015
From her vantage point on Ireland’s wild west Connemara coast, Dorothy Cross conjures up magical, ritualistic works that dissolve the boundaries between nature, culture, religion and superstition to haunting and memorable effect. Rows of rusting iron baths fill part of the gallery with what looks like an ancient burial site, each with a careful band of gilding replacing the accumulated residue of scummy watermarks.
Published in Irish Arts Review, November 2015 ( December 2015 - February 2016 (Vol 32 No 4) p. 526-533 )
I am dyslexic like a high percentage of creative people - that can have a big impact on a personality. I knew I wanted to be an artist. I don’t know how, but I went to Sligo thinking that I’d learn how to demonstrate emotions through art but that idea was soon squished. We learned every single process - carving, clay, and metalworking ... By the time I had finished I was ready for the challenges. We were minded, valued and nurtured. It was communal almost. Competition didn’t exist. We were proud of each other’s ability.
Related artists: Daphne Wright
Published in Frieze Magazine, November 2015 ( Issue 175, p. 170 )
The exhibition in fact contains images of two expanses of parched wilderness, wisely paired and thousands of miles apart: one photographed by John Riddy, the other drawn by James Castle. Their respective haunts were South Africa’s jagged Cape Peninsula, a spur of land jutting out into the Atlantic Ocean that the British-born Riddy has roamed over for decades, and Idaho, where the deaf and illiterate Castle, an artist of disarming gifts, was born in 1899 and remained until his death, 78 years later. Together, they map communities from their most desolate edges to provide documents of these places that are difficult to decipher and reverberate with mutually ghoulish history.
Published in The Guardian, October 2015
“THE BASTARD WORD”, reads a neon sign that fills a whole wall. My life is filled with bastard words, and so is Fiona Banner’s Scroll Down And Keep Scrolling, at Birmingham’s Ikon Gallery. If her neon sign addresses her conflict with words, it also embodies her difficulties with neon. The glass lettering is stressed and wonky and has scorched the paper template on the wall behind it. It hurts just to look; I know how the words feel.
© Copyright 2017 Frith Street Gallery