Latest Rolling Top Ten London Art Exhibitions February By Paul Carey - Kent
Sculpting in the gallery with an unusual industrial material, Frances Richardson’s Marx-quoting title casts her – with a little irony, surely - in the role of alienated labourer generating surplus value. But she allows the Concrete Canvas (www.concretecanvas.com), more typically used to make instant shelters in areas of conflict, the starring role. Teetering or propped, it brings a satisfying hardness to would-be-soft forms suggesting drapes, a discarded sleeping bag and a deadheaded flower. And their mixture of the abject and the sensual comes in a slate grey which sets off the stone-coloured walls in Lubomirov-Easton’s programmatically non-white cub
Anissa Mack: Body Copy @ Josh Lilley, 44-46 Riding House St - Fitzrovia
Dear Victoria, 2014 - Painted aquaresin, cloves - smells good...
Leaves II (The Couple)
To 8 Feb: www.tiwani.co.uk
The Barbers Abidjan
Josh Blackwell: Never Uses @ Kate MacGarry, Old Nichol St - Shoreditch
To 22 Feb: www.katemacgarry.com
Plastic Basket (Man O War), 2014
Talking of male embroiderers (away with those stereotypes!) there’s plenty of intricate sewing in Dean Hughes’ first move into the application of colour. Wooden frames are hung with shapes of calico, crazed by the creases which the dying process causes in such a sensitive material - and which remain visible even after they’ve been ironed (though actually I seem to achieve a related effect with cotton!). The effect is bunting / clothes dollies / paint samples / anthologies of abstraction with a hint of seriality and a sense of potential exchange – indeed, Hughes says he found himself swapping colours around once the works were in the gallery, though he’s not encouraging visitor revisions!
Internet art hits the gallery as Danish artist Lotte Rose Kjær Skau merges Camgirl with Cindy Sherman in ten versions of herself in trance to – mostly unheard – beats. Each self-invention has a digital add-on, from subtle as hair-sparkle to blatant as lightning, so by the time you factor in what Kjær Skau is wearing, where she is, what she might be hearing, how she moves, who might be looking her and how she’s chosen to embellish her image, the play of identities gets quite complex – as does the accompanying essay, channelling Laing, which IMT have meritoriously commissioned from Morgan Qaintan
PREVIOUS CHOICES STILL ON
Glass Cat 2 @ Wimbledon Space, Wimbledon College of Arts, Merton Hall Road
10 Jan - 14 Feb: www.arts.ac.uk/wimbledon/wimbledon-experience/wimbledon-space
Images courtesy the relevant artists + galleries