Silent Painting, an exhibition of work by Alexandra Baraitser, Olha Pryymak and Julie Fountain

 The exhibition at Tripp Gallery

The exhibition at Tripp Gallery

 My painting Desktop in the gallery window

My painting Desktop in the gallery window

The artists showing at Tripp Gallery apply techniques to imbue the image with a symbolic dimension that speaks to the moment of having nothing left to say, when words and sounds fall silent. They also utilise visual, tactile and olfactory senses to tell their story.
Pryymak, for example, executes dramatically lit canvases depicting female figures in quiet contemplation. The smell and tactility of the herb-filled jars exhibited alongside them activate a sense of the uncanny. She writes: “These multi-sensory installations silently highlight an archaic revival as a take on future redemption”. Using anachronistic but realist imagery, Pryymak taps into her heritage for non-conformist ways of making wordless statements to address what art critic Ben Davis calls “the unspoken and intractably apocalyptic sense of the world”. In the installation at Tripp Gallery, the standard issue Soviet jars normally used for making home preserves now contain fragments of forgotten remedies.
Through painting Baraitser makes her own interpretation of iconic architecture and its associated lifestyle. The fashionable scenes displayed in her work are populated but focus on the non-communication or separation of each figure from the other. In the painting The Perfect 50s Housewife the artist infers an emotional absence. She is clearly inspired by the painter Edward Hopper. Her iconic frozen-in-time scenes allow a human presence, but the characters are speechless and isolated. The work shows an interest in the relationship between the figure and the space around them and the silences that this relationship produces.
Fountain’s work reflects the artist’s emotional landscapes and painting them is partly therapy for processing what she describes as her daily anxiety and unease. Paint and paper are useful tools for expressing the intensity of feeling within her relationship with her daughter and when reflecting on her own past childhood. The pieces are painstakingly constructed over a period of time and are solicitous works. They are not vibrant but have a delicate resonance that is concerned with freezing the film and capturing the moment(and feeling), in time.

The Places We Go

Curated by Alexandra Baraitser and Julie Fountain PV 15th October 6 - 8pm

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time
— Little Gidding, Four Quartets - T.S. Eliot (1943)

The physical process of wandering enables us to draw in information as we move from site to site. However The Places We Go is as much about looking inward (searching what we conceptualise as a “space within”) as looking outward, as the borders between material space and internal space are often blurred. One of the ways a painter learns about life is to explore it: the artists in this exhibition eloquently capture the moment of returning to the start and finding something new in the familiar.

This exhibition of paintings brings together a wide range of work focusing on the particularities of place, whether unknown or known, that are available in human experience.

 

 Picture Box Dan Hays 240x180cm 2013

Picture Box Dan Hays 240x180cm 2013

THE PLACE WE GO   15 October - 25 October 2015   PV 6-8 15 October

Günther Herbst / Dan Hays / Julie Fountain / Alexandra Baraitser / Clio Lloyd-Jacob / Stephanie Kingston

Open 12 - 5 Thur - Sun APT Gallery, Harold Wharf, 6 Creekside, Deptford, London, SE8 4SA

                                                      www.aptstudios.org/gallery/

 

A new exhibition coming soon

 Alexandra Baraitser Charles and Ray Eames At Home Oil on Canvas 120x110cm 2015

Alexandra Baraitser Charles and Ray Eames At Home Oil on Canvas 120x110cm 2015

Upcoming: The Places We Go, 15th - 25th October, 2015, APT Gallery, London

An exhibition of paintings by Alexandra Baraitser, Dan Hays, Julie Fountain, Clio Lloyd-Jacob, Stephanie Kingston, Günther Herbst

Curated by Alexandra Baraitser and Julie Fountain

 Stephanie Kingston Oil on Canvas Passing Through 100x150cm 2014

Stephanie Kingston Oil on Canvas Passing Through 100x150cm 2014

Human Traces on the Urban Landscape

The exhibition Human Traces on the Urban Landscape was at Clare Hall, Herschel Road, Cambridge, CB3 9AL. Human Traces on the Urban Landscape, (co-curated with Julie Fountain), was first shown at STOUR Space, Hackney Wick in 2013. The artists: Rosie Snell, Günther Herbst and myself Alexandra Baraitser.

The city can be a lonely place, but the tracks left behind form shadows and echoes that are both haunting and inspirational. The 21st century urban space is both riotous and socially complex - a rich layering of networks, multi-racial and political - and yet it can appear empty. The painters Herbst, Baraitser and Snell - through a language both abstract and figurative, leave traces and clues for us to discover and mysteries to solve. In his book on Howard Hodgkin, Andrew Graham Dixon writes how a picture talks of the “human presence” and“remembering somebody in their absence”. Similarly, a focus on absence and presence is provided in this exhibition.

ClareHall.jpg

Paintings by Baraitser at Clare Hall, University of Cambridge March 2015