'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Gallery 9 is proud to present Basic Ingredients, Adrian Hobbs first solo show with us.
As a painter I view my practice as part of an evolving tradition that has rightfully seen Painting's historic position diminished, and by turn, liberated from the institutional strictures that both defined and maintained it. In this sense, the assumed and thus unquestioned components of a painting itself; its structural and constituent parts, become for me active, working elements (rather than it's static ground) with which I explore Painting's vastly altered and yet apparent undying capacity.
One example being that in my work the frame no longer exclusively sets the limit of the image but instead becomes a functioning component of it. Therefore, what the frame previously denied or alternatively captured ceases to necessarily be negated or confined. This allows the subject to not only exceed its limits, but that which lays beyond the frames reach may enter the space it demarcates - the subject is no longer captured or isolated but opened to the broader context that both enables and houses it. Similarly, through the inclusion (or exclusion) of the frame, the illusory potential of the 2D form is somehow revealed more than it is obscured. The trick if you like is laid bare.
How I've come to this process is through extended research into the the way a whole range of rational and scientific disciplines have conceptualised Chaos - that most common, dynamic and all-encompassing of forms. Common to all is a series of principles that I mix up with the constitutional elements of painting I list above. They act as an idiosyncratic sub-set of tenets that provide formal guidelines which dictate the possibilities for my work. Limits therefore are functioning parts that promise new possibilities, not definitive ends. And the repetitive use of certain motifs and shapes is to relate their potential to be different in each instance - to be depicted in a new capacity, unrestricted by applied or pre-determined meaning.
It is through the combination of these Basic Ingredients that my work is realised and no show I've produced to date has better illustrated this. Here I seek to further exhibit the fertile differences inherent to the seemingly similar rather than seeking a perfected representation of it. I have always found conformity to a perfected and static notion of being more restrictive than liberating.
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