Monday, 13 October 2014

Topping on Friday night

 Went to see the fabulous Paul Kindersley showing work with Matilda Moors & Jennifer Campbell in Blackhorse lane It was great to see his drawings, which I have only ever seen on Fb. The scantily clad young men on the floor bring not only painting alive but the exhibition space. It was not a big space but felt like it had been really considered and the works flowed well together. It did suggest in the blurb that they were rubbing up against each other fighting for top spot, however, I personally would have liked to have seen more of a fight and those topping ending up in each others face a bit like Tiswas from the eighties. However in my mind there was only one clear winner and that was Paul.  I did arrive early and left when it started to fill up after all I could not stand there looking at those Green pants mush longer in doing so perhaps I missed the real battle for top spot.
Jennifer Campbell, Paul Kindersley and Matilda Moors 
Opening: Friday 10th October 6-9pm
Saturday 11th October and Sunday 12th October 12-6pm

Topping is a group show of new work by Jennifer Campbell, Paul Kindersley and Matilda Moors. The pieces of work in the show will push up against each other jostling for top spot. Topping is about what sits on the surface, the work in the show relates to what is applied as an alterable addition to the structural elements of things.

The ritual of making-up, whether its spreading paint across a surface or dolling up novelties to a level of votive significance, is present in all the work in Topping. Jennifer Campbell, Paul Kindersley and Matilda Moors invest themselves in conjuring an artifice. All three artists wield a pop-look knowingly yet genuinely.

Jennifer Campbell makes brittle chunks and drooping slithers of substance. These precarious physical impositions are hosts that carry paint. Their surface colour is composed into flippant expressions of character. Having stepped into the room, her paintings become a gymnastic performance, thriving off the viewers gaze.

Paul Kindersley makes drawings and performance that use a mythologised film experience. A moment removed from its narrative, set up and captured like a publicity still. He assimilates freely from TV, everyday imagery and his own past; destroying and meshing hierarchies and the personal. Creating confused narratives and façades that play with cultural fictions and present a melancholic hankering for the never real.

Matilda Moors makes sculptures and posters that investigate the organisation and structure of the world via novelty objects and cartoon imagery. Presenting neat re-stagings of the complicated and varied visual languages and levels of artifice that make up lived experience.

Though the artists make work with a varied set of references all three engage with the idea that things sometimes need that extra something special, that topping. Like a piece of burnt toast, dressed up but still plain underneath.

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