I’ve often wondered what my ideal art collection would look like if I had the means to build one. A strict theme binds many significant collections, and they frequently feel corporate, whereas I prefer to support the artists I love.
That’s why I became a fan of Coleccion Solo when I visited last year. They’ve done exactly that in a fantastic labyrinthine space in the heart of Madrid—now renamed Solo Independencia. It’s an eclectic collection, and they’ve even framed some humorous rejection letters in the toilets from those who refused to sell works into the collection. The letters are cheekily redacted to keep the offenders anonymous.
One of the highlights from last year’s visit was the paintings by William Mackinnon, who was chosen as the artist for the inaugural exhibition at the new space Solo CSV, which we had a sneak preview of before it opens in April. In another central Madrid location and housed within an old printworks, it’s a stunning industrial building, and visitors can enter and head straight to the purpose-built gallery space – Bowman Hal Gallery. Over time, they will reveal the full scale of the complex, and while I’ve been asked not to spoil it, I can safely say it’s spectacular. Visitors now and well into the future will have lots to discover as the full magnitude of the space gradually unfurls.
William Mackinnon’s paintings are part of his new exhibition ‘Snakes and Ladders’, which reflects the game’s metaphorical ups and downs -mirroring the personal and professional turmoil he has faced – he was due to have a significant exhibition at Simon Lee Gallery in London before its insolvency last year. These struggles manifest in his large-scale paintings, where layered textures and road signs hint at his state of mind – some suggesting he’s going the wrong way, others forbidding U-turns, reinforcing his need to push forward. There are frequent references to children questioning their future in an uncertain world – both his and children worldwide.
The works are maximalist, and every viewing reveals new details I didn’t see the first time. Works in the more familiar style are also present, such as a jeep’s headlights lighting up the darkness as it drives into it, keeping it unclear whether it’s an escape or something more sinister that lies ahead.
The textures in his paintings suggest play and experimentation across his nocturnes and paintings of roads flanked by signs. The contrast of light and dark is often stark, as in some of Magritte’s surreal paintings. Many of his paintings depict unknown destinations, yet Mackinnon presses on, navigating life’s unpredictability like the rest of us.
Meanwhile, back at Solo Independencia, which is also set to reopen in April, the collection presents works by Juan Barjola – a contemporary of Picasso, who is more renowned in Spain than abroad. One of his paintings was one of the first to enter Coleccion Solo, so they lent works from his estate to create an exhibition of his works to show alongside the permanent collection.
Similar to Picasso, Barjola’s works critique violence, referencing firing squads. Barjola would have been a teenager during the Spanish Civil War. While the similarities to Picasso are evident, I also saw shades of Francis Bacon in the grotesque and distorted figures within his work.
With two compelling exhibitions across these spaces, the gradual unveiling of Solo CSV, and the upcoming launch of Solo Lisbon, Colección Solo is entering an exciting new chapter. I can’t wait to see what’s next.
William Mckinnon: snakes and ladders at Bowmal Hal, Solo CSV and Juan Barjola: an apocryphal portrait at Solo Independencia will open to the public in April. Full details may be found on Coleccion Solo’s website.
All images © Bowman Hal
