Awakenings: Art in Society in Asia 1960s–1990s, a major retrospective at Singapore's National Gallery (14 June–15 September 2019), opens emphatically in flames. At the exhibition's entrance, viewers encounter a wall-sized image from 1964 titled Burning Canvases Floating on the River. The photograph captures a performance by Lee, in which he took...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
Without punctuation, She Said Why Me, the title of May Fung's 1989 video presents itself as a statement, rather than a question. It suggests a subject who expects no response, a person prepared to make what she can from being chosen though perplexed by the attention. The video follows a blindfolded woman, then unmasked, through late colonial-era...
Timothy Taylor is pleased to announce a solo exhibition by LA-based artist, Sarah Cain. Known for her visceral formations of colour, line, and shape, Cain's style resists definition, referencing styles as diverse as Abstract Expressionism, graffiti, and Pop Art.
Centred within a practice that moves effortlessly between object-based and situational work, Cain's temporary, site-responsive paintings intervene across and through the location, extending past the frame and into the surrounding environment. Her new body of work for Timothy Taylor perfectly demonstrates this philosophy, encompassing a stained glass window intervention, a range of paintings, and a large site-specific work, which Cain will paint directly onto the gallery wall in the days leading up to the exhibition.
For Wild Flower, Cain references the endurance of uncultivated plants and their propensity to thrive in the harshest environment. She relates this to the medium of painting and abstraction through her wild and unruly approach to technique.
A self-proclaimed 'renegade,' Cain pushes the limits of the language of abstraction, and challenges the established conventions of painting by incorporating quotidian and poetic ephemera into her paintings. These works often extend into three-dimensional space through the addition of seashells, chains, tassels, and found objects. The large, colourful canvases are developed in tangent to the body, using physical extremes and limitations to dictate the surrounding environment.
This is Cain's first exhibition with the gallery, and her first time exhibiting in the UK since her presentation at Bold Tendencies 6, in 2012.
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