Engaging but creepy. Painterly in a swooshy way that puts me off a little, but that is just personal opinion. The little 'faces' and body parts seem contrived sometimes. I would rather have the figures implied by the abstraction than to have them depicted. But I know others might like these little suggestive 'hooks'.
(Why the "operating room" lighting in that gallery?)
Unlike her previous work which seemed a little more Gothic in it look, these paintings are far simpler in their imagery. `Suggestion of figuration has been much reduced and Ms Lankveld allows the imbedded nature of figurative possibilities to largely stay dormant. Palette is again the silver blues and greys of soiled turps, the remanence of cleaning the brushes. The feature of this work is in the hunt; by artist and viewer, for substance.
Yes another post on Lankveld and back at the good old Approach. Cor blimey.
Her stuff is more abstract this time around, although the balance between technique and figuration is still tricky. Or more tactfully – ‘delicate’. One tempts the other. The swirly paint can seem a bit of a gimmick to generate the cartoony characters, or vice versa. It can seem a little convenient as a compromise. The figures, for all their disguise in technique, or wit, remind me of Inka Essenhigh’s extreme caricatures, but spared the illustrator’s technique for a more fluid and furtive turn. Curators note – there could be a chick show in this.
I was also reminded of Lara Viana (an earlier post and @ Domobaal) and Rezi looks positively gushing in that company. Lara, somewhat peremptory.
Look there’s a group show here, someone. Put away all that cultural theory shit for a minute and assemble these artists to illuminating effect!
I don’t know.
Is it churlish not to find these at least a little diverting? Or indulgent to think this is enough for painting?
But I like her sour colour – the last ones I seem to remember as being more black and white, and the technique/drawing runs to stark tonalities, elegant marbling. Distancing herself from the corny figures does throw new weight on her formal resources, so that just stirring the old wet-on-wet around can look a bit lazy and one-dimensional. She’s moving on. I must try not to get ahead of her.
we can only relate to these via a handful of exemplars...get me a proper posse, or at least a more narrow field of exploration. Paint for one other, somehow.
14 comments:
Rezi van Lankveld@
Approach Gallery
47 Approach Rd
E2
Engaging but creepy. Painterly in a swooshy way that puts me off a little, but that is just personal opinion. The little 'faces' and body parts seem contrived sometimes. I would rather have the figures implied by the abstraction than to have them depicted. But I know others might like these little suggestive 'hooks'.
(Why the "operating room" lighting in that gallery?)
And A.P. thank god you are here, welcome back.
Her Pieta was a "hit". This one doesn't do anything for me: a "miss".
Cross: "suggestive hooks."
Finger-painting.
Anon V
Im really enjoying these.
Thanks cross
Unlike her previous work which seemed a little more Gothic in it look, these paintings are far simpler in their imagery. `Suggestion of figuration has been much reduced and Ms Lankveld allows the imbedded nature of figurative possibilities to largely stay dormant. Palette is again the silver blues and greys of soiled turps, the remanence of cleaning the brushes. The feature of this work is in the hunt; by artist and viewer, for substance.
Yes another post on Lankveld and back at the good old Approach. Cor blimey.
Her stuff is more abstract this time around, although the balance between technique and figuration is still tricky. Or more tactfully – ‘delicate’. One tempts the other. The swirly paint can seem a bit of a gimmick to generate the cartoony characters, or vice versa. It can seem a little convenient as a compromise. The figures, for all their disguise in technique, or wit, remind me of Inka Essenhigh’s extreme caricatures, but spared the illustrator’s technique for a more fluid and furtive turn. Curators note – there could be a chick show in this.
I was also reminded of Lara Viana (an earlier post and @ Domobaal) and Rezi looks positively gushing in that company. Lara, somewhat peremptory.
Look there’s a group show here, someone. Put away all that cultural theory shit for a minute and assemble these artists to illuminating effect!
I don’t know.
Is it churlish not to find these at least a little diverting? Or indulgent to think this is enough for painting?
But I like her sour colour – the last ones I seem to remember as being more black and white, and the technique/drawing runs to stark tonalities, elegant marbling. Distancing herself from the corny figures does throw new weight on her formal resources, so that just stirring the old wet-on-wet around can look a bit lazy and one-dimensional. She’s moving on. I must try not to get ahead of her.
we can only relate to these via a handful of exemplars...get me a proper posse, or at least a more narrow field of exploration. Paint for one other, somehow.
Can we do Michael Ajerman at Transition next please... http://www.transitiongallery.co.uk/htmlpages/fisherman_strawberry.htm
that should be...
http://www.transitiongallery.co.uk/htmlpages/fisherman_strawberry.htm
or just rename the blog transition painting
I'd be interested in hearing other thoughts about Merlin James at Mummery and Schnelle. He seems to be doing good things with painting.
Anonymous said...
or just rename the blog transition painting
?????
This show also gets great coverage @ contemporaryartdaily.com.
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