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.