Month: July 2013

Daylight’s Feeling Forms at Hopkinson Mossman

Daylight’s Feeling Forms. Nicola Farquhar. Hopkinson Mossman. 5th July till 3rd August 2013 Nicola Farquhar’s current show at Hopkinson Mossman is titled Daylight’s Feeling Forms and features 11 paintings by the artist. As is to be expected by Farquhar, the paintings are portraits of women and each has been titled with a female name. The portraits are of a moderate scale maintaining a relationship with their source and creating an intimacy with the viewer. The artist has painted the figures in an abstracted style that results in illustration less of the physical attributes of the women she paints, but of something deeper and more insightful. The layering and varied methods of paint application by the artist concurrently conceal and reveal aspects of the figures character. This technique draws forth cellular imagery, thoughts of stratification and construction, giving the work a scientific facet that is very intriguing. This is balanced by the inclusion of vines and floral references in the work that offset the biology of the images with a decorative element. The division of the …

Sugar Loaf Waka at Melanie Roger Gallery

Sugar Loaf Waka. Graham Fletcher. Melanie Roger Gallery. 2 till 27th July 2013 Sugar Loaf Waka is New Zealand artist Graham Fletcher’s latest show at Melanie Roger Gallery. As is usual with the artist’s work, he juxtaposes Western furnishings with ethnographic objects from the Pacific creating a literal hybrid space. In Fletcher’s new works he seems to be moving away from creating a sense of disconcertion when viewing his work, to producing a far more palpable tension. This tension is brought about by the content crowded scenes Fletcher depicts, often using the corner of the domestic space and the converging angles of these walls to create a claustrophobic experience for the viewer. Tension is further expressed in the work through the use of complimentary colours, whose visual push/pull actions mimic that of the slippage between the decontextualised objects and their European surroundings. Fletcher’s choice of colour is also interesting in his use of pastel tones that recede against bright colours, which emphasises the disparity between the interior and the objects that fill it. This fetishisation …