Three exhibitions
dal 2/6/2014 al 5/7/2014
Segnalato da
2/6/2014
Three exhibitions
White Cube Bermondsey, London
Alex Da Corte's work takes otherwise banal and unconsidered objects and transforms them into 'the weird, erotic and aspirational symbols they have the potential to be'. Augustus Thompson's recent paintings derive from Los Angeles industrial design and municipal signage. Jack Greer's patchwork paintings are the result of culling his studio in Red Hook, Brooklyn, which he shares with fellow Still House Group members, for loose scraps and off-cuts of materials.
Alex Da Corte
Alex Da Corte’s project, White Rain, is rooted in the belief that ‘fantasy is present and available in all forms of imagery’. Incorporating the ‘conundrums of branding identities and various illusions of linguistic deception’, Da Corte’s work takes otherwise banal and unconsidered objects and transforms them into ‘the weird, erotic and aspirational symbols they have the potential to be’. For example, Dedication Monuments (2010-14), is made up of a generic, brightly-coloured rubber ball that sits on a shiny, monolithic base, and in the work Untitled (Milk For Honey, or Tar) (2014), a girl is dressed like an Animegao or Doller playing an Anime character, embracing an orchid covered in dripping shampoo. The artist describes how she seems trapped somewhere between being ‘her real self and her own self-perception; the notion of who we are versus who we want to be’.
In his exhibition Da Corte aims to ‘trap time and identity, almost as if in a stop-motion animation, through a textured and kaleidoscopic plexiglass installation that oozes, discombobulates, and gleams.’
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Augustus Thompson
Augustus Thompson’s recent paintings derive from Los Angeles industrial design and municipal signage. By creating an alphabet of forms and symbols from this everyday information, he explores ‘the limits of representational painting while celebrating the potential of a metaphysical practice’. In Honest (Black#3) (2014), a Koreatown bathroom door becomes an elemental signifier rendered in ink on canvas. Thompson’s paintings are often made in pairs so that their slight variations establish a pulse within seemingly austere conditions; profiles are painted, providing different perspectives throughout the exhibition space.
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Jack Greer
Jack Greer’s patchwork paintings are the result of culling his studio in Red Hook, Brooklyn, which he shares with fellow Still House Group members, for loose scraps and off-cuts of materials. By incorporating what is otherwise ‘somebody else’s trash’ in his paintings, Greer sees his practice as both collaborative and solitary. The result of endless hours of sewing and bringing together swatches of collected material to create imaginary skies and landscapes, each painting is an abstracted collection of different narratives. Drawing on the connections between his studio practice and his personal life, also included in the exhibition are cacti ‘scarred’ with tags such as ‘T-Dog’ or ‘Iggy and Siku’, autobiographical references which recall moments in the Greer family history. Also included in the exhibition is a coloured pencil drawing of a garden, seemingly out of focus, in its meticulous drawing we also see traces left by humans in the form of benches and graffiti.
White Cube
144 – 152 Bermondsey Street - London SE1 3TQ
Opening times
Tuesday – Saturday 10am – 6pm
Sunday 12pm – 6pm