2024 - Issue 99
Showcasing artists and works that caught my attention last week. Subscribe to the Weekly Newsletter to find out what didn’t make the cut.
With empty eyes and scarification marks that initially made me think these were wood, there’s a cult-like ambiguity seeing a variety of domestic scenes when every head is seemingly the same. So I looked for clues in the posture because you can tell a lot by the way a shoulder slumps even when people are putting on a brave face. It’s a concept that Tonye Ekine (@wherestonye) explores by dressing everyone in copper masks attributed to Obalufon II, who was the Third Ooni (e.g. king) of the Ife Empire (now southwestern Nigeria) sometime between 1221-1369 ce. (Click to see some of the British Museum artefacts that inspired the work.)
‘One of Us’ at Steingold Contemporary (@steingold_contemporary) until 16 Mar
Pop-up venue location: 4 Garden Walk, EC2A 3EQ
From the embroidered gauze moth wings to the ceramic clothespins used to hang the largest piece, the delicacy in these works is sublime. Those already familiar with Paloma Proudfoot (@palomaproudfoot) will notice her production has evolved with meticulous refinement, incorporating soft material to create an added layer of decorative intrigue that momentarily distracts you from the darker themes the artist explores. While some of the imagery is obvious, the gallery text reveals references I never would have guessed.
‘The Voice of the Play’ at The Approach (@approachgallery) until 30 March
Palmer is a new gallery with a stated intention to support experimental art and creative exploration and on those points their debut show delivers. The main room displays works that challenge traditional figurative and landscape perspectives, but in the alcoves the art occasionally fights for attention with the space itself. Bea Bonafini (@beabonafini) and Karolina Dworska (@karolinkadworska) make clever use of the storage closets, whereas Gusty Ferro (@gusty_ferro) has created a literal panic (inducing) room in the annex of the former marketing office the gallery now occupies in a building that once manufactured WWII aircraft parts.
Also featuring:
Jennifer Carvalho (@jenniferannecar)
Norberto Spina (@norbertospina)
Ramah Al-Husseini (@alhusseiniramah)
Rowley Haynes (@rowley.haynes)
…and more!
‘Field of Difference’ at Palmer Gallery (@palmer.gallery) until 06 Apr
I’ve often felt unwelcome in a gallery, but this is the first time it’s because of the art, thanks to the oversized portraiture by Joe Cheetham (@cheethamwj). I’m indifferent about the cartoonified facial features, but their wary looks and the way they’re hung had an uncomfortable impact. Placed so the eyes are level with the average adult human head, it’s impossible not to feel ogled. Six huge faces and twelve oversized eyes surround me. Some stare directly, others have clearly turned to glare at me over their shoulder. I’m instantly nervous, awkward and wonder if I’ve done something wrong. It’s an impressive feat when art can make you so self conscious.
‘Joe Cheetham’ at Annka Kultys (@annkakultys) until 06 April
Danielle Fretwell (@danielle.fretwell) uses her exquisite skills to subvert Trompe-l'œil, painting photorealistic veils and layers that intentionally obscure each scene. A few straightforward works remind you how boringly beautiful a still life can be, yet you’ll still try to focus through that chain link fence or wish you could lift those semi-transparent window shades to see the rest of the table settings. There’s also a series of large works that look like patterned silk scarves that have just been unfolded after years in storage. Or maybe they’re thin curtains hiding gardens behind them? You can’t get a clear view of anything, and that just made me want to look longer.
‘Shallow Invitations’ at Alice Amati (@_aliceamati) until 12 Apr
Edward Durdey (@edwarddurdey) incorporates three-dimensional elements into two distinct styles of landscape, though both place the viewer at the edge of an expanse that’s calling you to visually step inside. In one series he curves the canvas in an attempt to lure you deeper into the scene, but the pristine imagery of perfectly manicured gardens makes me think of gaming monitor screensavers. I much preferred the rougher textured 3D reliefs, carved using common builders plaster and accented with gold leaf.
‘Ritual Landscapes: 2020-2024’ at Benjamin Rhodes Arts(@benjaminrhodes_art) until 03 May
PLUS…
Check the What’s On page so you don’t miss any other great shows closing soon.
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