Kusseeers Gallery is pleased to present
BETWEEN THE POSSIBLE AND THE REAL
Four British Abstract Painters
Jon Thompson, Ben Ravenscroft, Andrew Graves, Andrew Bick
For many years, Jon Thompson has been profoundly affected by the written and recorded work of the great Canadian pianist and theorist, Glenn Gould. He draws many parallels between Gould's approach and his own or, more precisely, Gould's understanding of musical expression and his own understanding of the business of painting.
Colour, mood, atmosphere, sense of place - these are the flesh, blood and bones of Thompson's remarkable paintings.
"Gould's idea of repetition through translation - the building of an imaginal entity capable of taking passage from the inside to the outside followed by the translation of mental 'stuff', 'the music itself', into a perceivable form, is not one unfamiliar to painters' Colour, mood, atmosphere, sense of place are all factors which come to exist in my mind's eye in an utterly compelling and extremely precise form."
Colour, mood, atmosphere, sense of place - these are the flesh, blood and bones of Thompson's remarkable paintings.
"Gould's idea of repetition through translation - the building of an imaginal entity capable of taking passage from the inside to the outside followed by the translation of mental 'stuff', 'the music itself', into a perceivable form, is not one unfamiliar to painters' Colour, mood, atmosphere, sense of place are all factors which come to exist in my mind's eye in an utterly compelling and extremely precise form."
Jon Thompson
The Toronto Cycle #1, The Beach
oil on canvas, 2008
175 x 150 cm
The Toronto Cycle #1, The Beach
oil on canvas, 2008
175 x 150 cm
Ben Ravenscroft makes compelling paintings, which behind their spontaneity, reveal multiple levels of premeditation and intention, intuition and deliberation. Ravenscroft systematically places bands of colour in order to retrace the brush marks of the primed surface, both embellishing and disrupting the original function.
Ben Ravenscroft
Thankassary Flowerbed
acrylic on aluminium, 2004
150 x 150 cm
Thankassary Flowerbed
acrylic on aluminium, 2004
150 x 150 cm
The paintings of Andrew Graves sit at the edge of what is recognisable, yet at the moment when revelation seems imminent they shift and blur. They contain a promise that at some point, soon, their nature will become clear, their meaning unfolded.
Andrew Graves
Smoke
oil on wood, 2009
28 x 34,5 cm
oil on wood, 2009
28 x 34,5 cm
Andrew Bick's multi-layered paintings use various shapes in free and geometric abstraction.
They are executed in a combination of oil paint, marker pen, wax, acrylic paint and perspex and play with opposites such as transparency and opaqueness, depth and surface, line and plane, colour and non-colour, glossy and matt surfaces.
They are executed in a combination of oil paint, marker pen, wax, acrylic paint and perspex and play with opposites such as transparency and opaqueness, depth and surface, line and plane, colour and non-colour, glossy and matt surfaces.
Andrew Bick
Variant {south west} 3 part invention, double spider
acrylic, pencil, oil paint, watercolour and wax on wood, 2006/2009
122 x 189 x 4 cm
acrylic, pencil, oil paint, watercolour and wax on wood, 2006/2009
122 x 189 x 4 cm
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