The online editorial and curatorial project for reductive, geometric and systems artists working in the UK
Kaleidoscope at Fold Gallery, London
4 August -
A review by Laurence Noga
Dominic Beattie creates a pulsating, immediately mesmerizing atmosphere within the space of the current show, Kaleidoscope, at Fold Gallery, intuitively positioning the independent components in a visual loop. The work within this loop feels submerged, yet synchronized, establishing a striking synthesis of movement and colour.
Installation view with (on facing wall) Second Stradella, Mali Morris, 2016, acrylic on canvas, 198 x 214 cm. Image courtesy of Fold Gallery.
The system that Mali Morris employs within this synchronization has a casual authority. Second Stradella (2016) carries an underlying perception of weight, as found in a painter like Ellsworth Kelly, combined with the natural fluidity and syncopation of works such as June Red and Black (1965) by Terry Frost.
Thinking back to Kelly’s show at the Guggenheim in New York, I am captivated by Morris’s
composition, which is activated by the 20-
Peeled, Julian Wild 2013. Polished and powder-
Julian Wild’s sculptures always feel on the move. In Peeled (2013), it seems as if
the work has unpeeled itself and skidded across the space, picking up the reflections
of other works. We are held in the sculpture’s placement, its physical solidification,
the moment of that split -
Metapainting (One for each eye) 1,2,3,4. Selma Parlour 2015. Oil on linen 76 x 61 cm. Image courtesy of Fold Gallery.
Selma Parlour’s haunted paintings hover with retinal disparity across the space.
The luminous synchronicity, in this case, operates through our intrusion into a private
world, where a parallel dimension may exist. The colour shifts in the multiple framing
of each composition are exact, and build a system that is modulated through the tonal
colour bleeds. In One for each eye 4, each successive colour -
Studio Flowers #47, Martin Maloney, 2016. Oil on canvas, 76 x 61 cm. Image courtesy of Fold Gallery.
Patterns of activity are encapsulated in the two Bridget Riley prints. The artist
Michael Kidner said: “It is the area between the second and third dimension which
interests me – the order which lies between imagination and reality”. I understand
that idea with Riley; I very much liked her show at the National Gallery -
Martin Maloney’s Studio Flowers # 47 has the whimsical, animated quality of a Raoul Dufy painting. The transparency is painted in an extremely physical manner, which Maloney makes look easy and spontaneous. Each mark is purposeful, natural and energetic, constructing the still life, and becoming lost in the rhythms of the paint.
160804 James Alec Hardy, 2016, VGA monitors and video system, 225 x 130 x 130 cm approx. Image courtesy of Fold Gallery.
James Alec Hardy’s 160804 holds the key to the visual puzzle in the space. At first
glance we are seduced not only by the structural repetition playing on the monitors,
but by the plugs and wiring that wrap around them. The interplay between the symbolic
colour shifts suggests something of Man Ray's revolving door paintings, with their
clarity of colour overlaps. But Hardy introduces another element -
©Copyright Patrick Morrissey and Clive Hancock All rights reserved.
Slowly Fading Forms Dominic Kennedy, 2016. Oil paint, oil stick, crayon, pencil, wood, felt and pins on canvas. 210 x 170 cm. Image courtesy of Fold Gallery.
The edgy and organic structure which unfolds in the work of Dominic Kennedy feels partly intuitive; a sensuous experience arrived at through the drawn approach. The quality of line has a particular nervous energy that gives the work a palpable tension as it interacts with the more consistent elements of the painting’s structural decisions. For example, the felt border feels important to the way in which the compositional tension is built. The soft yellow material creates a sensual counterpoint to the obscuring of forms, which are often both revealed and concealed.
This rhythmic drawing calls to mind the dexterity of Andre Masson, particularly in
Vegetal Delirium (1925). The system is in the materiality that Kennedy has evolved,
such as crayon, oil stick, pencil and oil paint. Different levels of touch are used
in a performative manner. I like the way the bottom left-
This exhibition increases our understanding of colour mechanisms, and their visual articulation. It allows us to understand retinal and perceptual representation through its creation of a continually changing sense of reflection and symmetry, while giving equal weight to human fallibility.
Installation view. Image courtesy of Fold Gallery.