06 10 2006



06 10 2006

The Frieze concert is actually the 13th of October, not the 14th as the poster below indicates.

05 10 2006



Terry Atkinson, Eric Bainbridge, Emma Barrow, Casey & McAree, Kev Rice, Miles Thurlow, Neil Zakiewicz

COLONY, 85 Spencer Street, Birmingham, B18 6DE
14 October – 12 November 2006
Preview 10 October 6 – 8.30 pm

Legacies of Dissolution is an attempt to consider or draw a line under the business of looking at ‘work’. Taking artists who work with materials and object-making as a starting point, the show considers on the one hand the nature of object making and a work’s existence as art-object, be it as metaphor for artistic practices or artists themselves, and on the other, the autonomy of a work within a thematic gathering of works.

Building cardboard rooms within rooms in each gallery, with viewing windows out onto each individual work, the show seeks to reinforce some sense of ‘viewing’. Compromising the relative autonomy and individual ‘voice’ that a work may have, this restriction on the viewing experience only reinforces
what we suspect may already be true in encountering a work – that of the individual battle for a work to speak for itself upon leaving the studio or
place of creation and the imposing set of resources set upon it under a thematic curatorial collation.

Too often the idea of a group show is to suggest that there are shared interests – that this valiant curatorial effort is a reflection of artistic groundswell. But what if we are trying to enforce a different set of resources back onto individual works, to see how they stand up? And what if these individual works are too belligerently trying to side-step some sense of the markers of interpretation?

Terry Atkinson has said that his Grease Works paintings are a kind of ‘art grunt’, conceived as a kind of low-fi computer robot analogy. One of the main objectives of the grease works are to simply house grease: volatile axle grease that is constantly in a state of material change. The wooden structure of the painting is, in one sense, the ‘hardware’ of art, negated on the other by the ‘software’ of the grease. The work is not just in danger of corroding completely, but has an unfortunate ability to contaminate everything surrounding it. The Grease works have also variously referred to different legacies in art history: Frank Stella greaser, Warhol greaser etc.

Eric Bainbridge works in an extensive range of materials - video, bronze, clay, knick-knacks, food, house paint, wax, used furniture and predominantly chipboard. The irreverence of such an approach is balanced by Bainbridge's intuitive engagement with aesthetics. Though we may be presented with work made from discarded kitchen furniture, covered in what looks like chip fat, our eyes are soon drawn to a red plastic edge, or a steel fitting which shimmers exquisitely before a synthetic marble surface. It is in the handling of material, as well as in the material itself, that references might be found to archetypes of modernism or avant garde art, as a fluorescent light might suggest Dan Flavin, or a grey blanket Beuys.

Emma Barrow’s sculptures are conceived from the nature of their making. Inherent properties and features are exaggerated with aerosol to corrode and metallically metamorphose found polystyrene forms. Such applications produce uncharacteristic textures and the impression of weight. Whilst abstract in their compositions they assume both architectural and figurative references, as a result the work becomes unstable materialistically, a fragile remnant of a stable object or reference.

Casey & McAree negate the easy reading of the exhibition by building a cardboard ‘viewing room’ in each gallery. Constructing a cardboard tunnel between rooms and a gallery-within-a-gallery in each space, Casey & McAree deny the visitor the opportunity to experience the show as installed in the white cube, instead providing ‘windows’ through the cardboard to individual works. A second work on the stairway, a wall piece made of green strip lighting and illuminating the entrance to the exhibition, reads Nach Casey & McAree. The work refers to the publication Nach Kippenberger and its query into how an artists’ legacy is to be preserved after they have died. Casey & McAree ask how their (relatively unknown) artistic careers will be considered even while they are alive.

Kev Rice’s sculptural creations toy with formalist structures and art historical references, from Haim Steinbeck to Ian Davenport. For Legacies… Rice will create a wall-based work specifically for the space at Colony.

Miles Thurlow often plays with ideas of construction and deconstruction on an architectural, and sometimes more intimate, scale. Thurlow's work is an extension of sculptural practice informed by Minimalism, Arte Povera and everyday life. Thurlow is co-founder of Workplace Gallery in Gateshead.

Neil Zakiewicz’s foam sculptures play with subject matters that are close to being sentimental or absurd. Zakiewicz pushes the work into the grey area between classical seriousness and folk art kitsch. The artist pays homage to heroism in art and storytelling in a way that is conditional and self-deprecating, combining the grandiose and heroic tendencies of traditional sculpture with a flexible and impermanent modern material.


Preview: Tuesday 10 October 2006
Opening times Saturdays & Sundays 12 to 5 pm or by appointment
Contact Mona Casey 07958 077641/ Paul McAree 07870 166640
info@colonygallery.co.uk www.colonygallery.com

Show ends Sunday 12 November 2006


Below Image:
Miles Thurlow, Untitled (Sculpture), 2005
Courtesy of Workplace Gallery, Gateshead, UK


05 10 2006


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