GROUP EXHIBITION

Interflow brings together a range of work in different mediums, including photography, painting and ceramic installation,proposing a conversation between form and formlessness, abstraction and landscape. Opening with three works thatdepict nature in a primal state, the exhibition leads the viewer through a selection of work that evokes geographical formsand landscapes. The exhibition culminates with Lubna Chowdhary’s Serial Structures (2023), a ceramic installation thatrises vertically like a dynamic cityscape. The exhibition’s sense of flow between different scales, perspectives andmediums speaks to a dual desire to see clearly and to lose oneself in formlessness.

The dark, organic forms of Peppi Bottrop’s Dotv (2022), which could be a microscopic view of neural networks or asubterranean jumble of roots, greets viewers as they enter the gallery. Joan Snyder’s All Over (2022) evokes the pulseof a pond coming to life at spring, overflowing with flowers and fluids, replete with pale pinks and greens and drips ofearthy pigment. Jeff Wall’s Trap set (2021) features a tangled screen of grey and green branches beside a cool stream;a small trap, topped with a mossy piece of wood, suggests the human desire to master nature. Depicting nature as araw and vibrant force, these works also imply a parallel desire to suspend time and space in a moment of contemplation.

A greater sense of clarity emerges as the exhibition expands into its second section, opening onto landscapes andbroader vistas. In Ragna Bley’s Drive (2023), washes of translucent pigment flow across the surface, evoking thecreation of geographical forms. Koo Jeong A’s Annual Journey I (2013) could be a group of stones at the edge of agarden, a seascape, or perhaps a mountain range seen from a distance. Each of the small, haunting landscapes inHanako Murakami’s series Untitled (Iris) (2020), which she makes in the darkroom by dipping vintage photographicpaper into chemicals, resemble ink paintings of mountains. Mary Ramsden’s painting offers a mix of geometry andorganic forms, suggesting the use of tools and measuring devices to tame nature, even calling to mind a patchworkof farmland from an aerial view. In Rachel Rose’s A mountainous landscape (2022), a building rises from the entropic,flowing forms – the exhibition’s first sign of architecture and a snippet of geometry that recalls the small, wooden boxin Wall’s Trap set.

Lastly, the viewer encounters Lubna Chowdhary’s Serial Structures. The ceramic installation, with its sharp geometriesstacked vertically on a series of shelves, expresses a crystallisation of form, hinting at the history of modernism andhard-edge abstraction. With images of Snyder’s All Over or Bottrop’s Dotv fresh in the mind, Serial Structures appearsas a culmination of a process or the conclusion of a quest: from the wild and formless origins of life to a clearlyorganised, vividly coloured structure.