Lucian Freud: Portraits at the National Portrait Gallery is pure genius. My piece in Whitehot Magazine is here. “I want paint to work as flesh, I know my idea of portraiture came from dissatisfaction with portraits that resembled people. I would wish my portraits to be of the people, not like them. Not having to look at the sitter, being them. As far as I am concerned, the paint is the person. I want it to work for me just as the flesh does.”

Lucian Freud: Portraits at the National Portrait Gallery is pure genius. My piece in Whitehot Magazine is here.

“I want paint to work as flesh, I know my idea of portraiture came from dissatisfaction with portraits that resembled people. I would wish my portraits to be of the people, not like them. Not having to look at the sitter, being them. As far as I am concerned, the paint is the person. I want it to work for me just as the flesh does.”

“My concern is always invention. I always want to invent a new language that’s different for me and for others, too… I want to discover new things. Because, to me, art is a way of knowing the world… to see how the world is… of getting to know the world.” Lygia Pape: Magnetized Space. My review in Whitehot Magazine.

“My concern is always invention. I always want to invent a new language that’s different for me and for others, too… I want to discover new things. Because, to me, art is a way of knowing the world… to see how the world is… of getting to know the world.”

Lygia Pape: Magnetized Space. My review in Whitehot Magazine.

My review of Tacita Dean’s ‘Film’ at the Tate Modern, in Whitehot Magazine. “Sitting on the concrete floor of the Turbine Hall, the bright images roll over you, the shapes and colours blend with the hum created by the crowd in the massive room. On the screen the sky changes colour, a clock ticks, an image of leaves starts to shimmer and turns out to be a reflection on water.”

My review of Tacita Dean’s ‘Film’ at the Tate Modern, in Whitehot Magazine.

“Sitting on the concrete floor of the Turbine Hall, the bright images roll over you, the shapes and colours blend with the hum created by the crowd in the massive room. On the screen the sky changes colour, a clock ticks, an image of leaves starts to shimmer and turns out to be a reflection on water.”

This is Noemie Goudal, who is part of Photography As Object at the Sumarria Lunn gallery. My review in Whitehot Magazine is here. “Goudal has re-photographed her images of a bridge or a tropical landscape inside a gritty environment, creating windows into other worlds. But the illusion is fractured, as the idyllic images are printed on several pieces of A3 paper and the gaps in between are clearly visible. Still, you can’t help but want to go there, stepping first into the barn or warehouse where the shoot took place, and from there on into nature. You can see the illusion isn’t real, but it doesn’t matter, you want it anyway.” - - - Also, my review of Christoph Büchel’s Piccadilly Community Centre is out now in This Is Tomorrow, here. 

This is Noemie Goudal, who is part of Photography As Object at the Sumarria Lunn gallery. My review in Whitehot Magazine is here.

“Goudal has re-photographed her images of a bridge or a tropical landscape inside a gritty environment, creating windows into other worlds. But the illusion is fractured, as the idyllic images are printed on several pieces of A3 paper and the gaps in between are clearly visible. Still, you can’t help but want to go there, stepping first into the barn or warehouse where the shoot took place, and from there on into nature. You can see the illusion isn’t real, but it doesn’t matter, you want it anyway.”

- - -

Also, my review of Christoph Büchel’s Piccadilly Community Centre is out now in This Is Tomorrow, here. 

New adventures in art writing: Whitehot Magazine: Review of NOT (An Exhibition) at the Print House Gallery - read Amelia’s Magazine: Review of the Jerwood Painting Fellowships - read This Is Tomorrow: Review of Matthew Day Jackson’s exhibition, ‘Everything leads to another’ at the Hauser & Wirth gallery - read ‘In my work there is no past. History is a part of everything. Everything leads to another. As the sum of history moves out in 360 degrees from its center – which does not exist – it envelops the present. Perhaps you could say I am interested in moments of sublime beauty which carry their counterpart, otherwise known as terror, so closely that it is difficult to delineate one from the other. This has been the guide from the beginning. In my search for the edge, I meet heroes along the way and see myself reflected in the surfaces of the things I encounter.’ (Matthew Day Jackson)

New adventures in art writing:

Whitehot Magazine: Review of NOT (An Exhibition) at the Print House Gallery - read

Amelia’s Magazine: Review of the Jerwood Painting Fellowships - read

This Is Tomorrow: Review of Matthew Day Jackson’s exhibition, ‘Everything leads to another’ at the Hauser & Wirth gallery - read

‘In my work there is no past. History is a part of everything. Everything leads to another. As the sum of history moves out in 360 degrees from its center – which does not exist – it envelops the present. Perhaps you could say I am interested in moments of sublime beauty which carry their counterpart, otherwise known as terror, so closely that it is difficult to delineate one from the other. This has been the guide from the beginning. In my search for the edge, I meet heroes along the way and see myself reflected in the surfaces of the things I encounter.’ (Matthew Day Jackson)