Long abandoned by all but a few. The artist's works are manifestly things, often quite big and layered and worked, but they also have a sign writer's visual immediacy, and a picture's unfolding back-story. They are shiny and fresh and corroded, too. There's a past in their present, and a depth to their flatness.
Long abandoned by all but a few
Today’s painting has to earn its keep like never before. We have enough pictures, thank you very much. We have plenty of images and signs to keep us going. And I don’t think we’re short of things either. There’s not much call, then, for a painting that is simply a picture, and image or a thing. That’s where Peter Lynch’s works come in. These are manifestly things – often quite big and layered and worked - but they also have a sign writer’s visual immediacy, and a picture’s unfolding back-story. They are shiny and fresh and corroded, too. They are one-coloured surfaces if one colour satisfies you (grey, perhaps), but there’s stratified variety if you have enough time. There’s a past in their present, and a depth to their flatness. What are they, then? Long abandoned by all but a few, painting returns in the work of Peter Lynch to the patient Real that often slips our minds.
Peter Lynch was born in Burnley in 1971. He studied at Glasgow School of Art and then at Goldsmiths College, London. Solo exhibitions include Glasgow School of Art (2001); Galerie Katherina Krohn, Basel (2002); Andrew Mummery Gallery, London (2003) and Ingleby Gallery, Edinburgh (2003).
Image: Peter Lynch, Long abandoned by all but a few, 2004, oil on canvas 71 x 56cm
Private View: Wednesday 27 April, 6-8pm
Andrew Mummery Gallery
Studio 1.04 - Tea Building
56 Shoreditch High Street (Entrance is on Bethnal Green Road) - London
Exhibition open: Wed-Sat, 12-6pm