The online editorial and curatorial project for systems, non-
©Copyright Patrick Morrissey and Clive Hancock All rights reserved.
In Line, Griffin Gallery, London.
18 January – 23 February 2018.
Review by Laurence Noga, February 2018
There is one ideal vantage point within this excellent and cleverly curated exhibition at the Griffin Gallery. At this point in the space we can see how all the visual coordinates either line up, or challenge the modes of circulation, in terms of the physical reactions running through the show, perhaps in such a way as to enable the viewer to keep breathing.
These individual constraints are often combined with a material syntax that creates
a tension and an element of surprise for the spectator. For example, Hanz Hancock
We start to read the geometric composition as a ribcage, partly due to the close tonal proximity of the colours, but more through the reversal of composition that takes place. The altered structure shifts our focal point between the paintings in a dialogue that is both animated and composed. Visually flickering, the drop or straightening of the elongated triangles holds our perception, building in the emotional content of the song and aligning an autobiographical moment.
Lothar Götz, Silver Convention, 2017, wall painting installation. image courtesy of the artist and Domobaal.
The scale and presence of Lothar Götz’ 2017 Silver Convention
wall painting gives the impression that this work could have an infinite number of
permutations. This sense of the kinetic, and its flow of energy and movement, has
a connection with the Russian constructivists El Lissitzky and László Moholy-
There is an example of those relationships in the hint of a skater’s landscape within the composition in the top half of the painting. Like a giant envelope, the work opens up an accentuated relationship of triangles and rectangles. The partially sloping floors and parallelograms particularise the colour choices (ochre /silver /red / blue /orange), integrating a relationship with the linear totality of the show.
Peter Lowe, Four Groups of Four, 2013. Stainless steel, 1.80m. Image © Griffin Gallery and the artist.
I find myself making radical alterations to Peter Lowe’s order-
I am reminded of Max Bill’s exquisite sculpture Unit of Three Equal Volumes (1961),
also in polished metal. But I sense that the route of his approach is related to
Cubism; for example, Juan Gris’ multiple use of perspective in Guitar and Fruit Dish
(1918). Gris draws us into the three-
We glance at Robert Currie’s shiny-
A first close inspection of Ben Gooding’s work gives the impression that it is manufactured.
Daryl Brown’s distinctive sculpture, Unknown PWR, is skilfully constructed. The lightness of the materials (aerated concrete, plaster and paint) gives the work a strangely disquieting attitude, as if it were holding a secret. The totemic forms have a martial sense of space between them. Brown uses a repetitive additive construction process which develops and metamorphoses as the traditional methods of cutting and sanding progress. The slotting together of each segment with its infiltrated colour has elegance and entropy. Manganese blue pigment is squashed and sanded back flatly, leaving the traces of sanding visible, allowing the work to hover between its physical dynamic and a kind of memorial of measurement and division.
Patrick Morrissey’s inter-
Wendy Smith’s carefully constructed drawings have a sense of patterning taking place
over time. Machines, technologies and commercial phenomena are transfused with memories
and emotions. The weight of each mark feels consistent and precise, despite being
But in a way, the making of works like Night (2016, gouache on paper) allows us to
enter an infinite and fragile space of subdivisions, depicting a level of experience
that allows Smith to make work that is self-
Duncan Bullen’s individualised, pinpointed marks are made in a highly methodical
manner. The economy of means (pencil or pens) develops repetitive, or near-
The linear construction of this show works through an expansion and contraction of straight and sometimes parallel lines. But the magic of this exhibition is that it has become part of our resonant world, and a part of human experience.
Robert Currie, 1 Day, 6 Hours, 46 Minutes, and 5 Seconds, 2018, videotape, 620 x 180 x 290 cm. Image © Griffin Gallery and the artist.
Ben Gooding, 1192 and 1708, 2017-
Daryl Brown, Unknown PWR, 2017. Aerated concrete, plaster and paint. Image © Griffin Gallery and the artist.
Patrick Morrissey, Notional Wall Stackers I-
Wendy Smith, Night, 2016 Gouache on paper, 70 x 70 cm. Image © Griffin Gallery and the artist.
Duncan Bullen, Pulse – 4:17, 2017, pencil on paper, 50 x 50 cm. Image © Griffin Gallery and the artist.