2024 - Issue 132
Showcasing artists and works that caught my attention last week.
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Filling the long ominous entry hall with dust-covered, spotlit “artefacts” before forcing visitors to crouch down and crawl through a tunnel, Alexis Bamforth (@alexis.bamforth_eec) has fully embraced the dystopian potential of Greatorex Street to highlight humanity’s destructive tendencies, which he argues are brought about by petro-masculinity shouting louder than progressive sensitive thinking.
‘Nor Any Drop To Drink’ at Greatorex Street (@greatorexstreet_e1) until 24 Nov
Alya Hatta (@alyahatta) continues to evolve both her visual style — which I describe as “chaotic abstracted figurative” — as well as her use of found and mixed-media elements to augment the canvasses. Fabric dolls, bicycle chains, straw and leaves are just a few of the things featuring in the cacophony of imagery that draws from a highly nomadic upbringing: from Malaysia to the UK via the Indonesian archipelago, Saudi Arabia and Dubai. A motion activated ‘garden’ in the back brings that international experience to life with a clever use of voice messages from her family’s WhatsApp group.
‘A Soft Place to Land’ at Pi Artworks (@piartworks) until 30 Nov
Jen Orpin (@jenorpinpainter) has somehow managed to transform functionally ugly overpasses, covered in roadside grit, graffiti and roadkill (probably), into beautiful lonely moments. Devoid of any other cars and filled with typically grey UK skies, the emotions these elicit belies their dim isolation and moody atmosphere. As the roads ahead curve underneath miniature portals, I sense promise and hope lies on the other side. Or maybe that’s just because I‘ve spent far too much time in my life stuck in traffic jams?
‘We Left Nothing Behind’ at Union Gallery (@union.gallery) until 07 Dec
Even after reading the gallery text I’m not entirely sure what’s happening, but I spent a lot of time patiently embracing this install from Californian artist Parker Ito (@creamydreamy). It’s rare to encounter contemporary artists who understand that proper video art isn’t something that can be viewed on YouTube. Combining a live feed of the street with prerecorded clips, images projected off an old-timey slide projector, sound, text and time-controlled lighting that gives you a limited visibility of a mixed-media diptych, you’re bound to leave with many more questions than answers.
‘The Pilgrim’s Sticky Toffee Pudding Gesamtkunstwerk in the Year of the Dragon, À La Mode’ at Rose Easton (@roseeaston223) until 14 Dec
Abstract paintings are often described in terms of movement or motion as perceived by the viewer. It’s a way to make sense of imagery that defies normal categorisation, but in this instance it’s an expected and intended reaction, since artist Jake Walker (@jake_w.a.l.k.e.r) originally trained as a dancer. Staring at ‘Rattling into a Rhythm (A)’ that takes up one entire wall, I’m tempted to pirouette and dance along with it. But with the gallerist in attendance I choose a much more demure approach, and studied the layered streaks of impasto instead.
‘Rattling into a Rhythm’ at Sherbet Green (@sherbet_green) until 20 Dec
Chinemerem 'Eme' Omeh (@eme_omeh) was born and raised in Nigeria but moved to Atlanta four years ago. That’s helpful context when looking at these deeply layered paintings filled with ghostly figures and barely-there outlines of mostly women and children occupying institutional spaces and run down areas. There’s a sad urgency to these, as if Omeh is desperately trying to capture his heritage and childhood memories before they completely fade and become replaced with modern American visions.
‘Tales of Tales’ at Hope 93 (@hope93gallery) until 08 Jan
PLUS…
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