An artwork for nothing? That’s a good trade, plain as the Concorde on your face. But wait… The star of Samuel Zealey’s new show is probably what he calls – being a fan of the American master – his ‘Serra in Reverse’. Where Serra uses the force of gravity pressing them together to keep precarious-looking giant steel plates from falling on us, Zealey sets the plates of ‘Life Line’ against each other so they push apart. No welding, just a stretched rope, prevents them falling down. It’s a little worrying, the more so when so much of the world seems about to collapse. The other big works at the Cob Gallery in Camden (‘Planes’ to 8 April) are the show-titling Folded Steel Plane Series’, several person-sized heavy metal versions of some of the 36 ways Zealey’s researches have tracked down for folding a paper plane. The fact that they’re also geometrical planes is emphasised by this move, and there’s a critical edge – typical of Zealey;s environmental focus – in the contrast in noxious emissions between model and reality. And the freebie? What was more natural than to ask Zealey to demonstrate his prowess by folding the show’s press release into a paper plane, and signing it as an edition. As if planned, the fold threw up planes on the wings, and it didn’t fly badly, either…
Plenty of shows bring together paintings of figures and objects in unusual contexts or brought into unexpected conjunctions: the words ‘uncanny’ and ‘enigmatic’, ‘disturbing’ and ‘surreal’ are likely to be invoked. But, even if the paintings are good, you need more to turn such a display into a compelling whole. Two current exhibitions demonstrate how:
The first London Gallery Weekend (4-6 June) felt a very positive initiative, conveniently revealing the scale of London’s commercial art […]
I wait years for a really good dandelion painting to come along, then – on the same day – see […]
Cob Gallery is to present a new solo exhibition of work by Tahnee Lonsdale: twelve oil paintings whose swooping angularity fuses an intimate sense of personal vulnerability with an awareness of emotional experience as a form of public rite. Ode and tonic to this year of upheaval, they mark a moment of our collective re-emergence.