I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
'The idea of painting as mantra interests me: paintings as objects, figurations as images and models used as vibrations to reach somewhere else, beyond ourselves.
I don’t have a fixed method for how I make a painting other than to say it takes time to develop imagery when they are not direct transcripts of the real world but have been created slowly in my mind instead. My ideas take time to filter through my brain and onto the canvas where they collect more ideas and memories along the way. If I return to an image it’s because that process of filtration hasn’t yet ended. Also, the more I work the more I am aware of the difference between the model and the subject and the more those two separate. I think if I were another kind of artist, I'd say these paintings are about climate change, landscape, music, a moment from a film. It's not that I’m not interested in my models and what influences me, but I'm looking for something else under the surface.
‘Turn off your mind relax and float downstream’. That’s why I keep the images slow and repetitive. I'd never get to where I want if I always kept changing course. If I did not keep developing and pushing the images there would never be a falling away from the model to the true value of the work. Pushing something beyond where it’s logical, that’s where I want the paintings to go. A Fool Through the Cloud is part of my ongoing attempt to get through and beyond.'–William Monk (February 2019.)
London–Pace Gallery is delighted to present A Fool Through the Cloud, the first exhibition of works by William Monk at 6 Burlington Gardens. The enigmatic title of the exhibition offers a poetic play on words reflecting the multiple readings and interpretations of Monk’s complex mindscape paintings. Moving fluidly between ideas of reality and mirage, and figuration and abstraction, Monk’s reinvention of painting lies in the physical presence of his works as object and the viewer’s experience within the space between them.
Comprising new large and small oil paintings, the exhibition is presented as an installation. Central to this is a suite of paintings titled Sea of Cloud, a Yellow Submarine-imbued zoetrope-like room that features three paintings depicting a montage of what could be interpreted as a cloud forming and dissipating over a swelling sea. Rather than a triptych with a central panel, Monk intends this group of paintings to be read as a repeating montage that could be viewed on loop: a cinematic influence, but also a musical one.
Each painting in the group is comprised of two adjoining panels, with the seam carefully placed at eye level so that the viewer will, as the artist says, ‘feel they’re in the water looking up to the sky, across to the horizon and below to the depths.’
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