The Summer Exhibition is hands down my favourite art event of the year. So much so, that for the last couple of shows I have made it a celebratory thing to go on my birthday (a tradition I hope to upkeep for as long as possible...). As a result there is a lot of fun to be had in comparing shows year on year, from recognising favoured artist's work to seeing the contrast in curatorial styles.
The emphasis on curation is one element of the show that I am really fond of. It still seems amazing to me to have a show in such a grand setting which any member of the public can enter (as I have tried, but alas, failed). However what can be seen as maybe more amazing is that it's a select few individuals who take on the challenge of turning this vast mixed bag of the weird and the wonderful into a beautiful seamless patchwork to inspire and enthuse the viewer.
Michael Craig-Martin is the head curator for this year, and his influence is best highlighted by the bright colours on the walls, an alteration I highly commend. A simple change, but incredible in such a context. Overall I thoroughly enjoyed the whole show, more than some previous. I think this is down to the curation, well explained by the boards on the walls. Though in saying this I think it is important to try to see every piece with fresh eyes. I see the curators role similar to a conductor's in front of a 100 piece orchestra; the final result is one piece of music but every musician has it's own sound and melody, which must be considered independently. (This can make it particularly exhausting, though all the more reason to reward yourself with coffee and cake after!)
I kept notes on individual pieces, simple details which made each stand out to me. By doing this, highlights and key themes became apparent. That's possibly the greatest thing about the show; you will always see something you like, and dislike, and by doing so learn a bit more about yourself. I challenge anyone to visit it and not love it. I am challenging myself to get selected one day. That would be an excellent birthday present. Fingers crossed!
Wohl Central Hall
The octagonal Wohl, Central hall has always been a fantastic entrance for the summer exhibition, and this year had been painted the most brilliant shade of turquoise. Vistas looking onto further brightly coloured walls, as seen through the grand arches, only ignited my already great sense of excitement. The room was brilliant framed from the ceiling by Liam Gillick's 'Applied Projection Rig', featuring large transparent squares of plexiglass colour. The room information board aptly described Craig-Martin's approach to curating it as 'immersive', he had considered the relationship between the viewer and the space. The audience is encouraged to 'circumnavigate' Matthe Darbyshire's grand figure 'Captcha No.11 (Doryphorous),made from similar materials as Gillick's hanging piece. This introduction was colourful, lively, bright, moving and fun; a hint of what was to come.
Nice Frame, painted a similar pattern to the image. A good way to frame work on the cheap - 'Jasmine Flowers Provence, Turkish Bowl V&A' - Leonard McComb
Room III
Now a vivid magenta, the wall colour played a serious and evident role background to all the works hanging in this room. The large monochrome work 'Mississippi River Blues' by Richard Long RA was hung on the back wall so it could be observed by the entrance arch at the opposite end of the room. A simple and perhaps obvious decision, yet it is a key point of curation to ensure there is something eye catching; a focus point which puts the rest of room into context.
A set of four fun canvases with 3D pieces set back into them - 'The Four Elements A-D', John Tilson RA.
I particularly liked the colour in this one, especially on the pink background, his work reoccurred later in the exhibition - 'Stealing Things: Bag Snatcher', Stephen Chambers RA
Room II
I particularly noted the style of hanging in this room curated by Jock McFadyen, as spacing was used (and not used) in such a way that it really added to the viewing experience. Perhaps by making the constraint obvious between being engrossed in an artwork, and taking a step back to viewing the wall and room as a whole. The theme 'radical landscape' was taken on by McFayden, and was a good balance of rural and urban landscapes I felt. Here were my highlights
'Manoeuvres II', Rae Hicks. - I like the composition and emphasis on geometric shapes, I would like to play with this in my own style with my own colours. It could also be a good way to design forms out of drawings and photographs using tracing paper over the top.
'Dungeness', Jock McFadyenRA. - I like the contrast between the vivid colour and sweeping stokes of the background and strong architectural shapes in the foreground. This technique works well with oil, and would be a good process to use for large paintings of my own.
'Launderette', Dominic Mallin and Laura McEwen. - This '2 and a half D' mixed media collage is framed and an edition of 100 at £190 each. This is an approach I could start to take if I create 3D drawings (and could paint the frame). It also highlights the manufacturability of collages, if I was to submit one I could recreate I could make some money of it.
'Calton Hill', Jock McFadyen. - I personally liked this piece, even if definitely very dreamlike and easy on eye. With it's large moon and night sky scene, it seemed to hold memories, of the artist and of every viewer who had beheld it. A cliché down well.
'Time off (Diptych)', Trevor Sutton, and 'Second', Jane Bustin. - Both of these artworks were simple geometry, so lacking in concept or narrative, however they appealed to me as a striking piece of design would. I suppose it is their purpose, to hang on the wall and be viewed, which puts them in the art category than those of craft and design. Interesting materials used; with former being 'oil and pencil on board' and the latter being 'acrylic, oil and copper on wood'. Simple yet striking and aesthetically pleasing.
Room I
The curatorial shake up became obvious in this room, as this was the new 'smaller works gallery'. This is usually one of my favourite rooms (I think I found it's cramped clogged up aesthetic rather charming, the location where I hope a work of mine will end up someday.) However this year there wasn't all that many which jumped out at me, though I suppose it was a far more pleasant viewing experience not being squished on like sardines!
'Beneath the Horizon', Daisy Cook. - I liked the aesthetic of the materials used - oil and pencil on board. It allows the gentle graded colour of the oil to be defined by the soft fine lines of graphite. It also appeared to be layered; oil, pencil, oil, pencil etc. I feel like a I should pick up my oil paints and give it a shot!
'A view from the bridge' and 'Cornered' by Mandy Payne, spray paint and oil on concrete. Observing these, you really got a sense of contrast between the weight of he paint and of the concrete. I found this really interesting, as materials are a large part of my work. Think of paper and stone. Also maybe I should start painting more 3D objects, even if just experiementally. Spray paint would be best.
'Seafood Medley', Dame Elizabeth Blackadder RA. - This print, and another one of Blackadder's later in the show, caught my attention through the use of space and a white background. The artist clearly has a very strong sense of composition, and her bold use of white is something to be envious of.
Large Weston Room
As well as being in a new location, I felt the architecture room had a slightly more surreal feel. Maybe because it followed on from 'radical landscapes', I felt that the concept of architecture had been challenged. Artworks in the form of models reflected sculpture (and in one case a design products MA graduation piece*.)
I enjoyed looking at the models, for the spatial composition and material features, and Norman Ackroyd's Galápagos series was a joy to see. One piece which really got my creative mind whirring was actually a combination of two works; 'The tale of the washer' by Tim Robinson and 'An iconographical map charting the creation of Helsinki' by Jaime Lilley. The placement of an illustrative map next to text got me inspired as my personal work involves drawing, mapping and writing. I would have loved to have seen this as one work, though the juxtaposition in theme did cause me to reflect a little.
Upon a similar theme the juxtaposition of a small pastel watercolour near to a pastel Perspex 3D model made me think about moving writing, drawing and mapping into 3D and materials. All things I need to play with.
All works mentioned and unnamed
All together now - plywood model - Alma-Nac Collaborative Agency
The museum of Danish resistance, Copenhagen - 3D print, laser-cut card and oak - James Lilley
Old Church Banyuls - Watercolour - Sir Phillip Downson PRA
A library of libraries - Perspex - Penoyre and Prasad
*Urban Flora Propagation Field Box - Pinn, Kirk and Diggle
Room IV
'Mimic (Black)', Paul Hoskin. - This mirrored acrylic on aluminium work was extremely impressive. Laser cut acrylic marquetry is nothing new, it is the basis of some of my favourite jewellery, though when intricately done and well-polished I simply drool over the stuff. This piece completely pushed scale to the limit, it would make a fantastic (albeit dark) mirror!
'The cone of vision', Andrew Taylor . - I personally like this piece, bold yet understated and calm. Great use of colour.
'Really free labour', Emma Biggs and Matthew Collins. - This was probably my favourite painting within the whole exhibition. It really spoke to me; the colour, the geometry, the patchwork pattern effect.... It makes me want to paint again. Their other piece 'Building the City' was pleasing, though someone about the controlled spontaneity of the first really captured my heart.
Room V
Norman Ackroyd had curated this room as it was considered the print room. Unfortunately I wasn't as impressed with the prints this year as times before, many were nice but I felt few grabbed my attention. (Though saying that they were prominent at a later stage of the show, as my attention span is flailing). Still I could tell there was a great emphasis on painting, I suppose it is natural for one medium to take the forefront. As more of a printer than a painter, I very much appreciated being able to see them in different lights.
'Stolen Thunder III', Cornelia Parker. - I still find it funny, though you have got to wonder how long the joke will go on for...
'Wild Flower', Dame Elizabth Blackadder RA. - As with her work before, I am surprised how much it grabs me as I'm not usually a fan of flora or fauna. However it is a beautiful print, seemingly naive but obviously very tastefully done.
'London map of days', Mychael Barratt. - I'm drawn to any work that revolves around maps due to my hazy dissertation topic focusing on Cartography (in some yet unknown manner.) This map focused on dates, locations, images and words. My mum was completely absorbed in it, trying to make sense of the information. 'Inside Lloyds of London' by Adam Dant was another map like image, with components of the image being featured and described in the border, as though some kind of key or legend.
VI
'First and Last', Keith Milow. - I was very interested in the method used to paint this, it has involved peeled back making tape to create a top and bottom layer. It would be interesting to apply this in layers or paint the whole bottom and whole top covered in masking tape, then choose what to peel away.
'Screen', Gerard Hemsworth. - Simple use of lines and markings, communicates like language. However considering the scale I would like to see more down to composition or colour palette.
'Baby Shimmy', Alison Wilding RA. - the construction of this sculpture made form mirrored stainless steel interests me. I could use this technique, working in solid materials such as Perspex and/ or metal.
VII
'Claros', Gillian Ayres RA. Materials: woodcut on unryushi Japanese paper - I love the colour of this piece, and I find the process interesting as it looks a lot like a collage. It reminds me slightly of Matisse's later work, with a poetic composition and bright bold shapes.
'Wall of sound II', Humphrey Ocean RA. - I am a big fan of Ocean's work, and he had quite a few pieces in the exhibition. But I particularly liked this one for the colour and composition (and originality - NOT a boat!). This would make a gorgeous print, I should have more confidence I n keeping my work simple, as Ocean does this wonderfully.
'Badger, Baby rabbit and squirrel, Bird and fox, Rabbit', Tracey Emin. - Though being beautiful things in their own right, the price of these prints is what really caught my attention. Costing £525 or £875 for a limited edition print (of 50 each),I can only start to dream that my work would be worth something like that one day. Designer art it may be, but I still want one...
Le loi, Christine Baumgartner. Materials: woodcut on Japanese misumi paper. - This piece is a woodcut also, to compare to the Gillian Ayres piece. It has a very different aesthetic, but I feel works well by translating the texture of carved wood into print.
Land of my father, Chris Orr RA. Materials: engraving and watercolour.
Redoubt, inspired by Richmond Yorkshire - Chris Orr RA. Materials: lithograph and screen print. - I have always loved Orr's work, my fascination started with the high contrast black and white cutout piece I saw in my first ever time visiting the Summer exhibition. Landscapes and scenes of London often feature in his work, these pieces were softer and more sketchy than some I've seen before, but I still really like is aesthetic.
IX
'London, the streets', Kim Rugg. Material: ink. This piece worked brilliantly as a map, solely formed by hand written street names and locations. A great way to highlight the relationship between words and space. Exquisitely executed, peacefully simple and utterly eye catching.
'French shrimpers 3', Joel Redman. Material: photography. - I loved the composition of this photograph. I often find it hard to warm to photography, but the celebrated simplicity of this shot and random flecks of colour were perfectly suited to it.
'A painting of three stories', Stephen Chambers RA. Materials: - oil on wood. Three words sum up my warming to this pieces; narrative, technique and colour. I have been wanting to create a series of works, inspired by ones such as those of Sonia Delaunay, reflecting the pages of a book. This piece is interesting as each image would work by itself but come together to tell a bigger story.
Lecture Room
I hate to be critical, but I did not like is room at all. Being the sculpture room, it was far too crowded, and all the little works clumped together made them look like nick- nacks you'd find on a cluttered mantelpiece rather than being deservedly homed in a gallery. It's a miracle nothing has been knocked over by someone, it seemed like a total afterthought considering all the marvellous space the paintings in the previous few rooms had been given. Well, with that rant over, I look forward to seeing what they do next year.
'Ombro', Loukas Angelou and Vasso Asfi. Materials: powder coated steel. - I liked this piece because it looked like a well designed piece of furniture. As a 3D form, I was very inspired by the different angles it can be viewed by and the way this changes the form you can see. This relates to the space around the work, as in the context of the work. These are all points I find inspiring and need to bear in mind in the 3D model making part of my design process.
X
Tom Phillips RA - A Humument 1966-2015 - This example of book arts was particularly striking, due to the regularity of the pages individually framed, all made unique by the artist. It played with words and imagery, and also was presented a series (all themes that interested my throughout the show.) The manipulation reminded me of Nigel Peake in some places, with sketchy delicate lines. It seemed as though Phillips had decided a set of rules to follow, and also was interested by what little stories or ditties he could communicate by editing the text visible. A very interesting and eye catching piece, it definitely made me reflect on my relationship with book arts (a little bit love/ hate... As in I hate to love it.)
Exeunt
To conclude, I'll keep it short; bring on #SummerExhibition 2016!
