18 April - 1 June, 2013
Wednesday 17 April, 6-8pm
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The Beholder's Share
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Two Buildings, 2012, Oil on board, 47 x 56 cm
'…a kind of collage of mutually irreconcilable spaces, somehow
harmonized into a unity. The effect is to structure the picture, not
with a steely web of systematic perspective, but with an agglomeration
of glimpses, of framed vignettes.'
Timothy Hyman on Sassetta, Sienese Painting (Thames & Hudson,
Andrew Mummery is pleased to announce an exhibition of new paintings
and drawings by Carol Rhodes.
Since the early 1990s Rhodes has become known for a compelling body
of work reflecting upon the human and natural environment, and how
we visually and physically experience it. Her latest exhibition will
include both paintings and a selection of the preparatory drawings
that she makes for each of them.
Rhodes’ subtly distinctive paintings appear to have a fairly
clear subject matter – edgelands, semi-industrial landscapes,
places that serve other places like road networks, refineries, electricity
generators and processing plants. They are images of transport, passage,
circulation and migration. Art critic Tom Lubbock described them as
‘borderlands, somewhere on the edge of recognition’.
There is, however, no simple relationship between the imagery and
the meaning. The latter remains elusive. While it is clear that many
of the things that Rhodes depicts have a functional purpose, they
can also be read metaphorically.
Rhodes usually begins from a visual reaction to things in the world,
but she develops her images through drawing and collage, usually from
multiple sources. She has written of building up a 'pictorial story'
in which some objects have a different presence and association than
others. Nevertheless the paintings remain grounded in a reality held
at the limits of representation. They must have spatial credibility
(Rhodes is not interested in the 'abstracted' as such), and the brushmarks,
while they have a literal presence, always investigate something in
the world: is the ground hard, or wet; made of chalk or clay or mineral;
covered in vegetation or exposed? Rhodes' paintings ask what might
be revealed by distance, by moving away from something. Is there something
concealed in plain view? Do we need distance in order to be able to
see a new kind of 'close-up'?
Encouraging a close reading of Rhodes’s paintings, this exhibition
will also include three items that have resonance with her work, helping
to draw out its meanings. One is an Indian miniature painting from
the early nineteenth century. Rhodes spent her childhood in Bengal
and her work has strong affinities with some Indian court painting.
(A new painting in this exhibition - River, Roads - is based
on a drawing made on a recent visit to India.) The second item is
an aerial photograph, from a 1926 original by O.G.S. Crawford, showing
the site of Woodhenge in Wiltshire. Such images – revealing
ancient sites invisible from the ground – were to lead to a
new way of looking at, and thinking about, landscape, its history
and meaning. The third item is a photograph by Luigi Ghirri, a late
work depicting a ditch and an avenue of trees disappearing into the
mist, evoking a search for the poetics and metaphysics of place and
Notes on the Artist
Carol Rhodes was born in Edinburgh in 1959 and spent her childhood
in Bengal, India. Between 1977 and 1982 she studied at the Glasgow
School of Art. Her work has been exhibited widely since the mid 1990s.
In 2007 the Scottish National Gallery of Modern Art in Edinburgh presented
a survey exhibition of her paintings, accompanied by a monograph.
One of her paintings from the Tate Collection is currently on show
in the exhibition Looking at the View at Tate Britain (until
2 June). Carol Rhodes lives and works in Glasgow.
For further information, please contact Mummery + Schnelle on:
+44 (0)20 7729 9707 or at: firstname.lastname@example.org