Works LOCATION contact
12/12/24 - 08/01/25
Intersect
Intersect
12/12/24 - 08/01/25
Erol Scott Harris~Christopher Paul Jordan~Jerome~Reeha Lim & Ryan Ko~Brennen Steines
Using unique painterly processes, the artists mesh their own multifaceted perspectives, experiences and identities to reflect on the contemporary moment. Operating at the intersection of performance and painting, the artists repurpose, excavate and elucidate - forming relics that interrogate the intersection of body and ground.~~Christopher Paul Jordan’s works exist on the grid, both physically and conceptually. Jordan uses gauze as a ground to create delicately layered paintings that oscillate between abstraction and representation. At once conservator and thief, Jordan uses the technique of ‘strappo' to excavate and detach his paintings from their original surfaces. This detachment from their point of origin functions as an investigation into the various forms of intimacy and departure that shape our lives. Reflective of the conditions of diaspora, Jordan’s works have a delicate yet scabrous aura, punctuated by tears and repaired with thick, textural craggy paint. This layered patchwork construction draws comparisons to how cultures fight to preserve their heritage in an ever-changing, topographical cultural landscape.~~Similarly translucent yet much more restrained, Reeha Lim plays with opacity in a collaborative work with Ryan Ko. Her thin yet multi-layered paintings blend delicate mark making with ghostly figuration - oscillating between representation and expression. Where Jordan’s works shout, Lim’s whisper - resulting in an enjoyable tension that brings to mind conversations around the physical and the digital realms. Lim’s works revisit cultural memories in an attempt to make sense of the truth in relation to nostalgia and emotion. Recollections and truth interweave, dreams and realities encroach; making sense of these works appears difficult as surfaces shift and figuration eludes us.~~In contrast, Brennen Steines dense textural works push the physical boundaries of paint, channelling the medium’s alchemical properties. Steines utilises an array of chance-based processes and highly considered interventions to create topographical terrains that speak to the haunting awe of material transformation. Rippled, crackled surfaces emerge from indeterminate topographies - submerging the viewer and hinting at fossilised terrains and the Anthropocene. In many ways, these works function as sites of excavation; visceral records of their own creation, as Steines subtracts and removes oil paint previously laid down. These paintings are laid to rest, yet over time remnants are dug up and reassessed to form new compositions that allude to history, memory and the intersection of the body and earth.~~Operating at the intersection of painting and performance, Jerome’s work also revolves around the passage of time and chance, specifically notions of gambling, mathematics and luck. Rippling, unstable surfaces reflect a history of moments and marks that effectively capture time, space and movement. Much like Steines, the genesis of Jerome’s practice involves an initial application of paint; effaced and marked in a collaborative process involving the public. Jerome reuses and recycles years of accumulated material, repurposing the material from these iterations of ‘Mayfly’ into new performative works or abstracted landscapes that bring to mind the works of Clyfford Still or floral arrangements. Conversations emerge, only to be abbreviated or disrupted depending on the audience’s entry point. The result are powerful, emotive and uplifting relics of contemporary culture that serve as documents of the time in which we live; an inquiry into truth, perception and context.~~Erol Scott Harris’s performative paintings involve a process whereby Harris repeatedly lowers himself onto painted surfaces via a series of ropes and pulleys suspended from the ceiling of his studio. Impressions made on the canvas with the artist’s bare flesh function as material vehicles for spirit, giving the work a primitive, fervid quality that engages with cave painting to Carolee Schneemann. The resulting image can be perceived in a myriad of ways - as a relic of a performance, a concretion of a lived experience, or as a materialisation of possibility. The final products are densely layered paintings that give off a Rorschach sensibility, open to a myriad of readings that reflect the experiences and complex identity of Harris himself. Choosing to work on linoleum, Harris references his ancestors, who were vintners who migrated from Códoba, Spain, ultimately becoming railroad workers in Chicago. Living in a box car, they laid linoleum flooring to make money - the grounds of Harris’ works come partially from his grandfather’s leftovers.
Jerome
J.S, 2024~Oil, oil pastel and ink on canvas, 180x150cm
Christopher Paul Jordan
Into Temptation, 2024~Acrylic on found silkscreen panel, 38x29cm
Christopher Paul Jordan
Severed Leg (Two), 2024~Acrylic and tulle on window screen, 167x147cm
Reeha Lim
Home, 2024~Acrylic, pigment, coloured pencil, oil on silk, 84x74cm
Brennen Steines
Sound of Late Tide, 2024~Oil, limestone, and emulsion on canvas with welded steel frame, 61x91cm
Reeha Lim & Ryan Ko
Sleeptalking, 2024~Acrylic, pigment, coloured pencil, oil on silk & digitally printed canvas, 170x130cm
Erol Scott Harris
HUM’ESA, 2023~Mixed media on vinyl, 243x121cm
Chilli
1 Adelaide Road, Chalk Farm
London, NW3 3QE
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