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christine koenig galerie: VICKEN PARSONS | Third Room: JEFF McMILLAN - 5 Sept 2008 to 4 Oct 2008 Current Exhibition |
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Vicken Parsons, Untitled, 2007
Oil on wood, 25,5 x 20 cm Courtesy Christine K�nig Galerie |
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VICKEN PARSONS Solid Air Opening: September 4, 2008, 7 � 9 pm, together with the galleries Georg Kargl, Engholm Engelhorn and Gabriele Senn. Duration of the exhibition: September 5 � October 4, 2008 Vicken Parsons, 1957 born in Hertfordshire, lives and works in London. Studied at the Slade School of Fine Art in London. Selected exhibitions: 2007 Vicken Parsons, New Art Centre, Roche Court, Salisbury, England Artfutures 2007, Bloomberg Space, London 2006 Royal Academy Summer Exhibition, Royal Academy of Arts, London, Le blaireau et le roi, Chartreuse de Melan, Taninges, Haute Savoie, France 2005 Raised Awareness - Curated by Bill Woodrow, Tate Modern, London 2002 Works by Vicken Parsons seen alongside with works by Sandra Blow, Tate St. Ives Christine Koenig is pleased to announce the second solo exhibition by British artist Vicken Parsons: Solid Air Working in oil paint on small plywood panels, Parsons creates luminous images in a palette dominated by grey, white, black and blue pigment. Her on-going interest in interiors continues in a number of paintings that variously suggest the basic architecture of interior spaces - in one, simple oblique planes create a view through a passage to a doorway and mysterious space beyond. In another a white square is placed centrally on a dark grey ground like a bright window of light. Working in oil paint on small plywood panels, Parsons creates luminous images in a palette dominated by grey, white, black and blue pigment. Her on-going interest in interiors continues in a number of paintings that variously suggest the basic architecture of interior spaces - in one, simple oblique planes create a view through a passage to a doorway and mysterious space beyond. In another a white square is placed centrally on a dark grey ground like a bright window of light. Yet in many paintings this simple architecture has become more radically provisional and opened up to the elements. One painting presents five black verticals in an expanse of soft grey, like columns which have lost their ceiling, they are now open to a vast expanse of luminous sky. These dark poles like barometers seem to measure and convey atmospheric density and pressure as well as providing fixed points around which the everchanging elements of light and air revolve. Vicken Parsons has become increasingly preoccupied with skies and their atmospheres. In some images it is the low curve of the earth or a body of water that frames and opens onto a diffuse endless expanse of the sky. Solid Air presents this new series of sky paintings on whose blue grounds various shapes swell, expand, condense, accumulate in density and colour, break up and disperse. Like clouds but also like smudges, bits of stuff, torn bits of carpet, creamy wisps, snow piles, ripples on water, these are motile and available forms, with things coming into being and passing away. In contrast are Parsons� new sculptures, assembled out of rectilinear blocks of metal whose sides are painted either grey, black blue or white, and constructed on wood bases, they appear like minimal, hard-edged solid concentrations of light and air - cityscapes of the sky. (quot. Annuska Shane, 2008) THIRD ROOM: JEFF McMILLAN Not Fade Away Jeff McMillan, born 1968, in Texas U.S.A., lives and works in London. Selected exhibitions: 2008 Drift, Espacio La Culpable, Lima, Peru Loose Booty, Vegas Gallery, London & Freestudios, Geneva ArtFutures, Contemporary Art Society, Bloomberg Space, London 2007 Transformer, Woburn Square Research Centre, London 2006 John Moores 24, The Walker, Liverpool 2004 New Works, Finesilver Gallery, San Antonio, Texas Jeff McMillan has for a number of years made work that is both reductive and emphatically painterly. He looks for the intriguing, inherent potential in found artworks and objects. For his first show in Austria he will present works made with paintings on canvas (painted by others) acquired at thrift stores or antique fairs. His working method employs a simple but decisive act of submerging a pre-existing picture into oil paint, an action that could be seen as destructive or redemptive. The resulting works create new narratives and bring to mind ideas about authorship, the collapsing of history and the duality of picture and object. |
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