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Nicholas Byrne – Fumes
Federica Schiavo Gallery presenta la prima personale in Italia di Nicholas Byrne, artista inglese che vive e lavora a Londra. La mostra si compone di sei dipinti a olio su pannelli di gesso, tela e rame e di un supporto architettonico addizionale
Comunicato stampa
Segnala l'evento
Federica Schiavo Gallery presents the first solo exhibition in Italy by Nicholas Byrne. An artist who, in painting “seems to have reprised Modernism’s dismembering of representation within his own work: a process that’s ongoing here as he works out some kind of algebra of bodily presence and absence, rehearsing different formulae” .
Early drawings show us combs and collars. Tools for altering personal appearances. In some pictures, lines appear to sweat until the image is out of register. In others, hard stiletto shapes arch around a body. Zooming in and out and in, as we look and look again when eyeballing. Could it be the work attempts to diagram the shape of attention spans? What could an index of time be for self-care? In an early show, A Catholic Episode, labour pours into a flame/teardrop shape. This is a process-lead enterprise of learning to read. Re-telling with accents and mistakes at the front. Presenting work in transition whilst showing us the means. Here are blades and long brushes. Let’s see what happens.
In this show, Tendrils, is made up of nine juicy interlocking panels. Across the joins, wavy lines thrum high to low and back again. Forming an engulfing field, like a curtain. The all-over blood-red seeming making a link between body-fluid with colour, and asks how do substances occupy your mind? Also akin to religious panel painting, Nerve scales is a knotty triptych of gessoed panels. Made up-close, in an exercise of scanning from left to right and back again. By taking care of how individual shapes touch each other. A mood of compression, by force, occurs in muscular cliques of lines meeting. The picture here is the language that made the painting.
In the core of the exhibition are four works on pieces of copper, Fumes, liquid oils are in co-operation with bare pictures etched on the surface. The two modes held in proximity and firmly apart. Images of optical nerves, anatomical swatches are woven into arrays of gestural mark making. Inspired by a scratch, the raw openings will react to the space around them. Over a long time, growing black before turning Statue of Liberty green. Attempting to connect a picture physically to who is breathing in front of it.
1. Martin Herbert, Nicholas Byrne, Frieze, 2010
Early drawings show us combs and collars. Tools for altering personal appearances. In some pictures, lines appear to sweat until the image is out of register. In others, hard stiletto shapes arch around a body. Zooming in and out and in, as we look and look again when eyeballing. Could it be the work attempts to diagram the shape of attention spans? What could an index of time be for self-care? In an early show, A Catholic Episode, labour pours into a flame/teardrop shape. This is a process-lead enterprise of learning to read. Re-telling with accents and mistakes at the front. Presenting work in transition whilst showing us the means. Here are blades and long brushes. Let’s see what happens.
In this show, Tendrils, is made up of nine juicy interlocking panels. Across the joins, wavy lines thrum high to low and back again. Forming an engulfing field, like a curtain. The all-over blood-red seeming making a link between body-fluid with colour, and asks how do substances occupy your mind? Also akin to religious panel painting, Nerve scales is a knotty triptych of gessoed panels. Made up-close, in an exercise of scanning from left to right and back again. By taking care of how individual shapes touch each other. A mood of compression, by force, occurs in muscular cliques of lines meeting. The picture here is the language that made the painting.
In the core of the exhibition are four works on pieces of copper, Fumes, liquid oils are in co-operation with bare pictures etched on the surface. The two modes held in proximity and firmly apart. Images of optical nerves, anatomical swatches are woven into arrays of gestural mark making. Inspired by a scratch, the raw openings will react to the space around them. Over a long time, growing black before turning Statue of Liberty green. Attempting to connect a picture physically to who is breathing in front of it.
1. Martin Herbert, Nicholas Byrne, Frieze, 2010
27
marzo 2018
Nicholas Byrne – Fumes
Dal 27 marzo al 10 maggio 2018
arte contemporanea
Location
SCHIAVO ZOPPELLI GALLERY
Milano, Via Martiri Oscuri, 22, (Milano)
Milano, Via Martiri Oscuri, 22, (Milano)
Orario di apertura
martedì - sabato 12 - 19
Vernissage
27 Marzo 2018, h 18 - 21
Autore