When observing Antony Williams’ new still lifes one hears the echoes of Italian churches and smells the faint scent of incense in the air. Akin to a fresco by Piero della Francesca suspended in eternal stillness these paintings are quietly contemplative. Like Piero della Francesca they are an infinite scene from a play behind a curtain that never goes down, however, they are the outcome of a more contemporary perspective.
Subconsciously at first, time is stretched a little by Antony Williams’ paintings. There is a stillness of times passing observed, it is not just the dawn like moment of the early renaissance painting that seems to be present. It is the method itself, the mark making one on top of the other, repeatedly, that seem to encapsulate time spent in observing. The effect on our transient viewing, whether in passing or in study is to become increasingly aware that as much as these are works of observation they are also visual odes to time.
Their unusual quality relies upon the viewers suspension of disbelief in a medium of high reality. These series of small still lifes focus on the dichotomy between organic matter and the geometry of architecture. Australian seed heads are tucked behind the doors of a Victorian dolls house and appear out of the roof, oddly disproportionate within its surroundings.
There are several points of differences here to grapple with from the geometric versus the organic to high reality versus the unexpected surreal. These studies bring architecture down to a scale where it becomes fragile, suddenly you are looking at a world that that could be destroyed by a wrong foot.
These are not simply a collection of objects but are composed in a way that conveys intensity in scale despite their size. Antony’s technique of mark-making records such a potency of information that they explode out of their dimensions.
Antony begins his day with the same ritualistic routine, that of mixing the raw pigments to create his palette. Dictated by the day’s work ahead of him Antony creates and controls the palette he needs.
Known for depicting some of the world’s biggest names and art collectors, Antony is associated with unflinching depictions of people whose reputations and celebrity proceed them. In these small paintings Antony is free to become absorbed by his personal pre-occupations and the surfaces and juxtapositions that captures his imagination. They have a presence beyond their size and will be displayed with equal reverence to Antony’s full-scale portraits.
Following an outstanding opening of Malene’s work in Cork St, Malene Hartmann Rasmusen’s exhibition ‘Fantasma’ has relocated itself to Istanbul to be part of ‘Beyond the vessel: Myth and Metamorphosis in Contemporary Ceramics’.
It is too often the case that provincial artists (responding to their own culture or the mythologies of their own community) have to enter main, often western, centers of the world in order to make their name. The koc foundation in Istanbul is upending this. This exhibition looks decidedly outward and pays particular attention of the mythologies of different communities while highlighting the unifying quality of the ancient medium of clay itself.
Malene has drawn inspiration from the cultural outpourings of Scandinavia and her own past. Her work itself is very much responding to a journey that she is on and we are delighted to play a part in the physical journey of these works from Denmark to London and to Istanbul.
Shortly prior to exhibiting in Messums London Malene completed a ceramics residency at the V&A which has informed the works on show.