OPENING : Thursday 27 June at 6-8 pm.

EXHIBITION : Wed 26 June - Sun 7 July, 2019

Alan Todd

IMMENSAE[boundless] is a series of works that draws upon ideas and approaches I have used over a lifetime. With origins in the late 60s, my work derives from that period between Abstract Expressionism, which had dominated the previous two decades, and the post modernists and conceptual thinkers to come.

They have been described as an uneasy balance between chaos and order. In essence the paintings are born on the canvas but on the one hand there is the quest for an unadulterated artistic freedom guided by instinct and born out of gesture and line, and on the other, the interpretation of small, seemingly insignificant, moments in time though a personal iconography.

SPACE 2 : Language of memory
Supansa Thongsuk

This artwork is a combination of my thoughts and emotions in the present day, and the memories of my past, to become a significant memory in the future. While I have been living far away from my birthplace, images form in my mind of my past life in Chiangmai such as my mom sweeping my studio, my favourite mountains and reservoirs, my home, and all my past friends, experiences and feelings.

These memories are constantly with me, sometimes appearing blurry, sometimes abstract, sometimes vividly realistic, and always difficult to explain with words, due to a seeming lack of suitable vocabulary, in either English or my native tongue. I try to remedy this situation with my art. The conversation between my artworks and I is a personal language, a dialogue which interacts with objects, situations and emotions without
offering answers, solutions or conclusions. It does not have an alphabet or lexicon as other languages do. The lines are my alphabet, and I read emotions from and to them – pressure, nervousness, peacefulness, fascination, love.

To me, memories visualised in this way are able to manifest more meaning than in any language.

SPACE 3: The Urban Descent
Rhys Knight

Exploring themes of alienation and existentialism, Rhys Knight’s series of paintings ‘The Urban Descent’ depict mythical urban settings through abstract realist gestures. Knight refers to the rhetoric of philosopher Soren Kierkegaard, who postulated in his theory of despair that human beings lapse into said state through a rift between the opposites of finite and infinite and subsequently experience a loss of self.

The finite alludes to actuality and things of a material nature, such as workaday life, whilst the expansive infinite refers to all that is possible; the capacity to envision new ideas and enact change. Borrowing from the Romanticist tradition, Knight’s works utilise painting as a vehicle through which this concept of despair can be explored. His thematic depictions of urbanization and of the human body in states of fictional purgatory align with the descent narrative present in classic medieval literature, such as Dante’s Inferno.

‘The Urban Descent’ presents urban society as an underworld, transforming affiliate ideas of consumerism and the necessities of everyday life into twisted, dark abstractions. Each work reflects upon our mortality and the alienation we experience from our world, ourselves, and each other.