Based in London and New York, Liam Gillick has been exhibiting internationally since the beginning of the Nineties. His ongoing interest in the legacy of modernism has resulted in a truly remarkable and influential body of work and a practice that has developed and extended into many disciplines, acting as sculptor, architect, designer, critic, author and curator. We are delighted to present two powder-coated aluminum and multi coloured plexi-glass structures; a large discussion platform and a tall, wall mounted screen that represents a new recent development.
We are delighted to present perhaps the most challenging and ambitious new work, ‘Tick’ which has been described by the critic Francis McKee as ‘a hard industrial exoskeleton constructed from gas piping that supports a heavy resinous mass encased in shaved deerskin and displaying a triple row of enormous resinous molar forms. Furiously white LEDs burn in what might be the sculpture’s nerve centre. It is a hybrid creature born from an unholy mix of minimalism and surrealism, its’ joints bandaged in deerskin as it crouches ready to pounce.’
In the last two years Callum Innes has produced an outstanding body of new paintings that continues his ongoing practice of painting and ‘un-painting’. This exhibition will feature two large paintings, a stunning black ‘identified form’ from 2005 and one of Innes’ new works, a large vibrant green painting, where the picture plane is split vertically in half. Two separate colors across have been applied across the entire surface and then rigorously removed on one side. This process is repeated, leaving one half of the painting covered in a rich layering of colour, and the other half ‘unpainted’ to reveal a gesso ground bearing all but the faintest vestigial traces of color. The result is a tactile and luminous painting that is both conceptually complex and visually evocative.
Jaki Irvine’s works in film and video, whether in single-screen format or in more complex multi-screen installations, weave together enticing, though ultimately elusive narratives in which image, voice-over and musical score variously overlap, coalesce and diverge. Subjectivities split and fragment as the boundaries that separate self from other, or human from animal, become fluid or permeable.
‘Guanajuato 14’, Irvine’s first work to be shown since moving to South America presents a deceptively simple observation a lone humming bird as it feeds. Time itself is beautifully depicted and as with earlier work there is a languid exploration of human interaction with the natural world, the built environment, and with other humans and is suffused with a melancholic lyricism and leavened by a dark, dreamlike quality.