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1,_type:j,darkMuted:{_type:b,foreground:a,title:a,population:ej,background:"#624b3c"},muted:{background:nh,_type:b,foreground:a,title:a,population:cj}},hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAFwAAAwEAAAAAAAAAAAAAAAAAAAMEBf\u002FEACAQAAIBAwUBAQAAAAAAAAAAAAECEQADBBMUITFhBSL\u002FxAAXAQADAQAAAAAAAAAAAAAAAAACAwQF\u002F8QAGBEBAQADAAAAAAAAAAAAAAAAAAERYYH\u002F2gAMAwEAAhEDEQA\u002FAFbu\u002FauaUQV7E8VQfq5O3bHQIQx6FJuhcjJVmWJiYrZxMPGVSdLke1nxdbEOMbmkJV58WitndlfyiBVHAANFH0rOn\u002F\u002FZ",dimensions:{_type:k,width:ar,aspectRatio:bQ,height:640},isOpaque:f,_type:i},_type:g,asset:{_ref:"image-9e9a50d99871f02859760e96a77989f455af4561-960x640-jpg",_type:e}},_type:A},{_key:"b8d9cbe95dfc",_type:s,text:[{style:n,_key:"39bc613e035a",markDefs:[],children:[{marks:[],text:gf,_key:"39bc613e035a0",_type:d}],_type:o},{_type:o,style:n,_key:"8c2ad2d88885",markDefs:[],children:[{_key:"8c2ad2d888850",_type:d,marks:[],text:"The western version of events has art existing as a stream, running next to us. It is a rendering of our lives, alongside our lives, for us to look at and reflect upon. It teaches us our history and helps us remember; it gives us something to aspire to and provides a place to focus our energies and our faith. Art is about us, but not of us; as such we use it to see our existence from a distance, and firm up the things we believe. This is how we understand the 45,000-year-old pig on the wall of the Indonesian cave, or the Jesus-loving altarpiece glowing in the grey medieval lowlands, or any Cezanne fruitbowl finding its centre of gravity."}]}]},{_key:"1fb7c9c46285",images:[{image:{_type:g,asset:{_ref:"image-3456502dc0da81b2c4bc3f40d295c390bb286fc9-1317x961-jpg",_type:e},metadata:{lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAPABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAUCAwb\u002FxAAgEAACAQQDAAMAAAAAAAAAAAABAgMABAURBhIhEzFB\u002F8QAFQEBAQAAAAAAAAAAAAAAAAAAAQD\u002FxAAUEQEAAAAAAAAAAAAAAAAAAAAA\u002F9oADAMBAAIRAxEAPwDcZ7LR2bOseiU9Yn6ApLjuZRXFx8ME0TPregagxWWN45VDhxpt\u002FtU4XjWKx8z3FpaIkpGi1IPWysjnsevtFJ501KwB8opT\u002F9k=",dimensions:{aspectRatio:1.3704474505723205,height:961,_type:k,width:1317},isOpaque:f,_type:i,palette:{vibrant:{title:a,population:l,background:"#7c7e82",_type:b,foreground:a},dominant:{foreground:c,title:a,population:fS,background:no,_type:b},_type:j,darkMuted:{_type:b,foreground:a,title:a,population:bf,background:"#504c43"},muted:{_type:b,foreground:a,title:a,population:L,background:"#847c7b"},lightVibrant:{background:"#bbbcbe",_type:b,foreground:c,title:a,population:l},darkVibrant:{foreground:a,title:a,population:l,background:"#404143",_type:b},lightMuted:{population:fS,background:no,_type:b,foreground:c,title:a}},hasAlpha:m}},_type:r,caption:[{_key:"fd58777fe717",markDefs:[],children:[{marks:[],text:"Harold Mendez, ",_key:"fd58777fe7170",_type:d},{marks:[p],text:"Untitled (We are a thousand petals to no one)",_key:"fd58777fe7171",_type:d},{_key:"fd58777fe7172",_type:d,marks:[],text:nu}],_type:o,style:n}],_key:"9d9b3ff9dcc6"}],_type:B},{text:[{markDefs:[],children:[{_type:d,marks:[],text:"In this version of events, the support art offers is strictly in the realm of the senses. It has no tangible use; it doesnât live to the tick tock of consequences and responsibilities that bothers all the things that aren't art. Art is apart. âYou can still piss in it,â said the art lecturer Hennessy Youngman of Marcel Duchampâs ",_key:"6c2bc27f34e80"},{_type:d,marks:[p],text:"Fountain",_key:"6c2bc27f34e81"},{text:", âtherefore itâs not art.â Jayson Mussonâs Youngman character was a signifying pharaoh, a specialist in rhetorical binaries, rooting around for the edges of where a work of art happens. His rude statement asked a
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This animating force travels from the creator in an unbroken line into every aspect of existence, from creatures to objects to speech and very much to art. Yoruban sculpture of the 10th to 12th century, Thompson notes, considerably exceeded its European counterparts in terms of expressive and formal handling. It is an embodiment of ",_key:"647130c454866"},{marks:[p],text:qj,_key:"647130c454867",_type:d},{_type:d,marks:[],text:" â it vibrates with life, the same as we humans do. This is an unmeasurable power.",_key:"647130c454868"}],_type:o,style:n,_key:"647130c45486"}],_key:"04f027e0ca86",_type:s},{_key:"8dfb08e4f69e",images:[{_type:r,caption:[{children:[{text:"Peter Shire, ",_key:"19a6ecdcdecc0",_type:d,marks:[]},{text:"Mr. Big Sur",_key:"19a6ecdcdecc1",_type:d,marks:[p]},{marks:[],text:pV,_key:"19a6ecdcdecc2",_type:d}],_type:o,style:n,_key:"19a6ecdcdecc",markDefs:[]}],_key:"67e6af5fb76c",image:{metadata:{dimensions:{height:2446,_type:k,width:3335,aspectRatio:1.3634505314799672}
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How art can be of us, inside us and with us, instead of alongside us.",_key:"ff633caab35b0",_type:d}],_type:o}],_key:"922a166b54f5"},{_key:"978f76d61be8",image:{_type:g,asset:{_ref:"image-889ab88bacf176af5ff87988f5363e0f55e94059-1280x844-jpg",_type:e},metadata:{lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAQHBQb\u002FxAAlEAACAQMCBQUAAAAAAAAAAAABAgMABAUREgYHEyFBFDFRYcH\u002FxAAUAQEAAAAAAAAAAAAAAAAAAAAA\u002F8QAFBEBAAAAAAAAAAAAAAAAAAAAAP\u002FaAAwDAQACEQMRAD8Alz9C\u002FdIJ+oxdgAi9tR571mcc8M4qxukGPjuY0dNV3d9zfAH7XRcsMUmfzTmeVovSR9Zdo13EeKa5\u002FXcsllhL6MiJnDw7UGmgX7oI1NjbiF9sihW99CRrRSryMzbmYknyTRQf\u002F9k=",dimensions:{_type:k,width:aA,aspectRatio:1.5165876777251184,height:844},isOpaque:f,_type:i,palette:{lightMuted:{foreground:c,title:a,population:h,background:"#b4b4b4",_type:b},vibrant:{foreground:a,title:a,population:l,background:eJ,_type:b},dominant:{foreground:a,title:a,population:qE,background:dr,_type:b},_type:j,darkMuted:{title:a,population:qE,background:dr,_type:b,foreground:a},muted:{background:dq,_type:b,foreground:a,title:a,population:fA},lightVibrant:{population:l,background:aU,_type:b,foreground:c,title:a},darkVibrant:{foreground:a,title:a,population:l,background:eK,_type:b}},hasAlpha:m}},_type:A},{_key:"f247a0b006d5",_type:s,text:[{style:n,_key:"e70a42f71490",markDefs:[],children:[{_key:"e70a42f714900",_type:d,marks:[],text:"At the same time, Time Takes a Cigarette was conceived as a show about the powerlessness we've felt in the past year, and the way that artworks can pick up the slack when they're entrusted as arbiters of reality. This is another aspect of letting art not be apart. Do you get the sense youâre not totally in control? Time takes a cigarette, puts it in your mouth. Itâs not necessarily a bad thing. This exhibition believes that its artworks can be trusted with the power theyâve been given. This exhibition believes that these artworks allow us to go further, and eventually regain control."}],_type:o}]}],_updatedAt:"2021-02-22T15:53:52Z",references:[{slug:mX,image:{metadata:{_t
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The sale was to benefit the hospital which inspired him so much growing up in Memphis. âI wanted to capture the joy and optimism that has remained consistent in my thinking about St. Jude,â Fordjour says. âAs a child who was very sensitive to aesthetic environments, I think of the experience of any child moving through there and encountering a piece. That drove the image.â ",_key:"e3d6463be46c2",_type:d,marks:[]}],_type:o,style:n,_key:"e3d6463be46c"},{children:[{_key:"9f0d51da55390",_type:d,marks:[],text:"Multiple bidders lifted the price to an unprecedented $410,000. 100% of these funds have been donated to St. Jude. 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1,dominant:{title:a,population:kL,background:kM,_type:b,foreground:c},_type:j,darkMuted:{population:dH,background:"#545f5a",_type:b,foreground:a,title:a},muted:{population:4.93,background:"#7a8683",_type:b,foreground:a,title:a}},hasAlpha:m},_type:g},_type:A,caption:[{markDefs:[],children:[{marks:[],text:bU,_key:"ec0508f361570",_type:d},{text:kP,_key:"ec0508f361571",_type:d,marks:[p]},{text:dA,_key:"ec0508f361572",_type:d,marks:[]}],_type:o,style:n,_key:"ec0508f36157"}]},{text:[{_type:o,style:n,_key:"189bf4bc497e",markDefs:[],children:[{_type:d,marks:[],text:"For the duration of Nick Goss' new exhibition Nine Mile Burn at Josh Lilley, Stories revisits key texts on the artist's practice over the past five years. The following essay, by the British writer-academic and editor of A",_key:"189bf4bc497e0"},{_key:"189bf4bc497e1",_type:d,marks:[p],text:kR},{marks:[],text:" magazine Thomas Marks, was published in the catalogue accompanying Green Lanes, Nick Goss' third exhibition at the gallery, in 2015.",_key:"189bf4bc497e2",_type:d}]},{_type:o,style:n,_key:"fd0623bc689b",markDefs:[],children:[{_type:d,marks:[],text:"Green Lanes. It sounds pastoral, nostalgic, faintly utopian â like some network of ancient droversâ tracks and holloways that endures furtively in a pocket of deep England. But Green Lanes could hardly be further from such a place: it is a drawn-out urban thoroughfare, which slices for miles through the suburbs of north London, abutted by old retail parades, housing estates and supermarkets, by ranks of semi-detached houses and parks that renounced their claims to rural retreat well over a century ago. Iâve lived near its southern limit for several years, but still find the name compelling, even uncanny. To read âGreen Lanesâ on a road sign, and register the nameâs nostalgic pull, is enough to provoke a moment of urban disorientation in which the city switches over from its familiar circuitry and starts to carry a stronger, stranger charge.",_key:"fd0623bc689b0"}]},{style:n,_key:"01eaff082d75",markDefs:[],children:[{marks:[],text:"Itâs towards that southern end of Green Lanes that Nick Goss struck on the source material for many of his recent paintings, themselves records of a type of urban dislocation or nostalgia, and explorations of its imaginative potential. Regularly wandering the stretch from Newington Green to Clissold Park, Gossâ eye was increasingly drawn to the roadâs Turkish cafes and menâs social clubs, and to their seemingly inscrutable interiors: the bleached football posters and old framed photographs of Atatürk, the dusty national flags, domino tables and skinny pot plants, all initially glimpsed through a bead curtain or door left ajar.",_key:"01eaff082d750",_type:d}],_type:o},{_type:o,style:n,_key:"f8212a7d65de",markDefs:[],children:[{text:"Such places often have a temporary look, employing a kind of vagabond architecture in their décor and furnishing â as if they had been thrown together in a hasty, improvisational manner, just distinctive enough to mark out their loyalties and functions. But like so much of this city, these makeshift arrangements have attained an inadvertent, if vulnerable permanence. If the sparse tokens that hang from their walls must once have been pinned up as powerful symbols of a home elsewhere, they now look like images that have grown into and even under the wallsâ skin, fading like old tattoos.",_key:"f8212a7d65de0",_type:d,marks:[]}]}],_key:"896d912cc0b6",_type:s},{caption:[{_type:o,style:n,_key:"833101d202f7",markDefs:[],children:[{text:"Green Lanes, Josh Lilley, May 2015",_key:"833101d202f70",_type:d,marks:[]}]}],_key:"08445202eeb7",image:{asset:{_type:e,_ref:kS},_type:g,metadata:{lqip:kT,dimensions:{_type:k,width:z,aspectRatio:dE,height:dF},isOpaque:f,_type:i,palette:{lightVibrant:{foreground:c,title:c,population:q,background:kU,_type:b},lightMuted:{background:kV,_type:b,foreground:c,title:a,population:ak},dominant:{foreground:c,title:a,population:dz,background:dx,_type:b},_type:j,darkMuted:{foreground:a,title:a,population:bR,background:kY,_type:b},muted:{foreground:c,title:a,population:dz,background:dx,_type:b}},hasAlpha:m}},_type:A},{_type:s,text:[{_key:"78cbc69aa21e",markDefs:[],children:[{marks:[],text:"Goss began to venture inside these small local institutions: talking to proprietors and regulars; photographing the spaces; identifying details and patterns that might make their way into paintings; and above all sensing an atmosphere, whether intrinsic to the rooms or particular to his response to them, that he wanted to describe and interpret on canvas. This has never been a quasi-ethnographic project, an attempt to re
1cord a community that may well soon be dislodged by urban gentrification. It is something more flexible and imaginative, stemming from the artistâs curiosity about the extent to which one might engage with, and make art out of what feels foreign on oneâs doorstep: about how painting might map our sympathies with strangers and their cultural memories, that is, and even push at the borders that set us apart from them.",_key:"78cbc69aa21e0",_type:d}],_type:o,style:n},{children:[{marks:[],text:"Such a way of looking perhaps carries the risk of a type of domestic orientalism, of exoticising what is quotidian in other peopleâs lives by turning it into art. But for me, Gossâs paintings are as much about exploring this apprehension as they are about representing the spaces themselves â or rather reassembling and transforming those spaces, in ethereal images that retain only a cautious hold on figuration. This attitude is partly marked by how the works develop from their photographic sources into what, at first glance, may resemble large-scale abstractions, turning from the identifiable world to images that eschew realism. But more powerful than this are the demands these paintings make on the viewer to evaluate their colliding planes and patterns, and their ensembles of solid and spectral forms. Even as they let us enter the worlds they depict, they find a way to hold us at bay.",_key:"9cdab1a22e710",_type:d}],_type:o,style:n,_key:"9cdab1a22e71",markDefs:[]},{children:[{text:"Take a work like ",_key:"bd1c7a0694300",_type:d,marks:[]},{text:kP,_key:"bd1c7a0694301",_type:d,marks:[p]},{_key:"bd1c7a0694302",_type:d,marks:[],text:": here, the curve of a tabletop indicates a roomâs receding depth, but the chequered pattern that prevails in the left-hand corners of the canvas has the appearance of an upended linoleum floor that adheres to the picture plane. And then thereâs that juniper-green travel poster, perhaps the most prominent single element of the painting, which presses forward what might otherwise be the rear wall of an interior against the surface of the painting. Something similar happens in "},{marks:[p],text:"Cardinal",_key:"bd1c7a0694303",_type:d},{text:", in which an inviting easy chair hollows out a provisional perspectival space, even as the patchwork of its fabric is enlisted in the puzzle of lines and forms that dominates the left-hand side of the work. 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The French philosopher Gaston Bachelardâs concept of âthe poetics of spaceâ is relevant here, at least insofar as these paintings are pervaded by a sense of how a room can carry lyrical, dream-like associations that float free from its actual appearance. Figures and objects come in and out of view, sometimes only caught with a few wisps of paint. The carefully observed pot plants in "},{_type:d,marks:[p],text:"Pictures Do the Talking",_key:"e16ccb42ac021"},{_key:"e16ccb42ac022",_type:d,marks:[],text:" rest on the ghost of a table. Furthermore, recurring patterns applied to the canvas with silkscreen, such as the birdcage motif in "},{marks:[p],text:"Nonconformists",_key:"e16ccb42ac023",_type:d},{text:la,_key:"e16ccb42ac024",_type:d,marks:[]},{_key:"e16ccb42ac025",_type:d,marks:[p],text:"Cello"},{text:lb,_key:"e16ccb42ac026",_type:d,marks:[]},{marks:[p],text:"and",_key:"e16ccb42ac027",_type:d},{text:lb,_key:"e16ccb42ac028",_type:d,marks:[]},{_key:"e16ccb42ac029",_type:d,marks:[p],text:"Bloom"},{_type:d,marks:[],text:" or the whorls of wood grain that run through ",_key:"e16ccb42ac0210"},{_type:d,marks:[p],text:"Hallerâs Azalea",_key:"e16ccb42ac0211"},{text:la,_key:"e16ccb42ac0212",_type:d,marks:[]},{_type:d,marks:[p],text:"Kaieteur Kitchen",_key:"e16ccb42ac0213"},{text:" and several other paintings, have unmoored from the specific spaces in which the artist encountered them to become resonant refrains in his work. They are incidental details in life that have taken on an almost monumental significance in the artistâs mind; or put another way, a dwelling he has crafted for himself out of the habitats of others.",_key:"e16ccb42ac0214",_type:d,marks:[]}],_type:o},{_key:"c4bdc7c5b26b",markDefs:[],children:[{marks:[],text:"The Green Lanes paintings present a haunting investigation of nostalgia and memory, of how objects and spaces take on such variegated meanings in different peopleâs eyes and minds. The term âgreen lanesâ is still used to describe unsurfaced tracks or byways â routes that are detached from the managed infrastructure of the road system, and that carpet themselves with lush vegetation. In that context, it could not seem more apt as the title of this series. These are paintings that bear the imprint of other peopleâs journeys, but flourish with their own poetic life.",_key:"c4bdc7c5b26b0",_type:d}],_type:o,style:n},{markDefs:[],children:[{_key:"b0720d73db9d0",_type:d,marks:[],text:bb}],_type:o,style:n,_key:"b0720d73db9d"}],_key:"0c9b80ac23e5",_type:s},{_type:B,_key:"5890f55d89a3",images:[{image:{asset:{_ref:"image-dc9f550336ddfe0ccae063f4fbe316b97c9ba275-1658x2000-jpg",_type:e},metadata:{palette:{darkVibrant:{_type:b,foreground:a,title:a,population:ab,background:"#4f3e21"},lightMuted:{title:a,population:L,background:"#c8c4b3",_type:b,foreground:c},vibrant:{title:a,population:l,background:"#b38d4b",_type:b,foreground:a},dominant:{background:ld,_type:b,foreground:a,title:a,population:le},_type:j,darkMuted:{population:bJ,background:"#5d4a34",_type:b,foreground:a,title:a},muted:{title:a,population:le,background:ld,_type:b,foreground:a},lightVibrant:{_type:b,foreground:c,title:a,population:l,background:"#d7c3a1"}},hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAYABQDASIAAhEBAxEB\u002F8QAGQABAAIDAAAAAAAAAAAAAAAAAAMGAgQF\u002F8QAJhAAAQMCBQMFAAAAAAAAAAAAAQACAwQRBQYSITEUFXEiI0FCwf\u002FEABgBAAIDAAAAAAAAAAAAAAAAAAACAQME\u002F8QAGREAAgMBAAAAAAAAAAAAAAAAAAECESEx\u002F9oADAMBAAIRAxEAPwCTHZ6mDEZ39S8MDzw5ceWvqpXAxS1LnC32sFtY0A7H6nW86C8gC+11jqZFx87XCwuVF6Vlxy9JL24XdIfUeXeEUGXHO7cdTyTrP4iZcIZUMUimkxipf00hbrO5CglgmJHtSAXvs1ERJaCLVl8zig2iktrPI8IiJ1HBbP\u002FZ",dimensions:{width:lf,aspectRatio:lg,height:z,_type:k},isOpaque:f,_type:i},_type:g},_type:r,caption:[{children:[{_key:"19eca80341de0",_type:d,marks:[],text:bU},{_type:d,marks:[p],text:"Pictures do the Talking",_key:"19eca80341de1"},{marks:[],text:dA,_key:"19eca80341de2",_type:d}],_type:o,style:n,_key:"19eca80341de",markDefs:[]}],_key:"53ebc3b4d58c"},{caption:[{_type:o,style:n,_key:"c92b2c7b6944",markDefs:[],children:[{marks:[],text:bU,_key:"c92b2c7b69440",_type:d},{_type:d,marks:[p],text:"Haller's Azalea",_key:"c92b2c7b69441"},{_type:d,marks:[],text:dA,_key:"c92b2c7b69442"}]}],_key:"f3cd0f4f0c83",image:{_type:g,asset:{_type:e,_ref:"image-703361236beed215c26705eae30f8fedac155675-1658x2000-jpg"}
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1 vapour trail, were astonishing, sometimes disturbing in their lavish effects. I particularly admire the way a contrail will hang in the air, slowly fattening, blurring, dissipating (of course they are also disquieting streaks of exhaust). A sense of their changing, vanishing effects is impossible to capture directly, so I have to take recourse to imaginative, roundabout ways of evoking them. The thing is to find ways where these phenomena dovetail with my handling of paint, a place where â how should I put it â memories of melting contours and smouldering light are in concert, or at best indistinguishable, from how paint grazes or bleeds across the surface.\n\n\"To get from observations and memory drawing to a painting on canvas seems to involve eliding two or three skies. For instance, now I think about it, ",_key:"521ac55fcb0a0"},{_type:d,marks:[p],text:"Low-Lying Cloud (City Dusk)",_key:"521ac55fcb0a1"},{_type:d,marks:[],text:" probably originated a year ago when Josh responded to an Instagram story I posted while in Tokyo. It was a photo of these puffs of very fine, low-lying cloud on a muggy night â these almost gossamer, torn cotton-wool puffs that seemed to be drifting down to meet puddles on the street. They were bathed in the glow of the streets. ",_key:"521ac55fcb0a2"},{text:"Thatâs a painting right there!",_key:"521ac55fcb0a3",_type:d,marks:[p]},{_key:"521ac55fcb0a4",_type:d,marks:[],text:", Josh remarked. I combined this with drawings of evening cloud, contrails and navigation lights I had made from the balcony of our home in Kingâs Cross. It was the all-too-rare painting that more or less paints itself: lemon into ultramarine cut with umber.\""}],_type:o}],_key:"0626dbd40817",_type:s}],_updatedAt:"2020-11-11T16:26:03Z",previewImagePortrait:{metadata:{lqip:mV,dimensions:{height:z,_type:k,width:D,aspectRatio:ad},isOpaque:f,_type:i,palette:{vibrant:{foreground:a,title:a,population:db,background:da,_type:b},dominant:{population:db,background:da,_type:b,foreground:a,title:a},_type:j,darkMuted:{foreground:a,title:a,population:dH,background:ft,_type:b},muted:{_type:b,foreground:a,title:a,population:mY,background:mZ},lightVibrant:{population:aX,background:m_,_type:b,foreground:c,title:c},darkVibrant:{background:m$,_type:b,foreground:a,title:a,population:bQ},lightMuted:{_type:b,foreground:c,title:a,population:na,background:fs}},hasAlpha:m},_type:g,asset:{_ref:nb,_type:e}},name:aj,standfirst:[{children:[{_key:"c71fc09aa0e50",_type:d,marks:[],text:mL},{_type:d,marks:[p],text:fg,_key:"c71fc09aa0e51"},{marks:[],text:". A year later we introduced the first large oils derived from this daily digital practice.",_key:"c71fc09aa0e52",_type:d}],_type:o,style:n,_key:"c71fc09aa0e5",markDefs:[]}],previewImageLandscape:{_type:g,asset:{_ref:"image-07e51d73755a79521e3e51b183a3f3a32ad18cec-2000x1333-jpg",_type:e},metadata:{dimensions:{aspectRatio:aE,height:D,_type:k,width:z},isOpaque:f,_type:i,palette:{lightMuted:{background:nc,_type:b,foreground:c,title:a,population:nd},vibrant:{title:a,population:aC,background:"#1981e7",_type:b,foreground:a},dominant:{population:nd,background:nc,_type:b,foreground:c,title:a},_type:j,darkMuted:{foreground:a,title:a,population:ln,background:mQ,_type:b},muted:{foreground:a,title:a,population:l,background:"#649444",_type:b},lightVibrant:{foreground:c,title:a,population:q,background:"#5abefa",_type:b},darkVibrant:{title:a,population:ab,background:"#0c3b90",_type:b,foreground:a}},hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAYHAQT\u002FxAAlEAABAwQBAgcAAAAAAAAAAAABAgMEAAUREhMGIQdBYXGBkaH\u002FxAAVAQEBAAAAAAAAAAAAAAAAAAACA\u002F\u002FEAB4RAAEDBQEBAAAAAAAAAAAAAAIAAREDBBIhgRRR\u002F9oADAMBAAIRAxEAPwCleIcG6SZDS7XNdZCWzs2hWCfWlG0x77CWJEy6SXh5NEnPzVC6phSXbi09FmmOQjUjjCs\u002Ftc0S1uujaTLLi+42DYT2+6RX9xSDAAZ2+6mOqPjp1DzInZ+wmy3kqgsKWSVFAJJ9qK2MnjjtoznVIGTRRmdq0Rpf\u002F9k="}}},{colourScheme:{title:dG,_updatedAt:dQ,secondaryColour:{rgb:{r:Q,g:Q,_type:u,a:h,b:Q},hsl:{a:h,s:l,_type:w,h:T,l:aP},alpha:h,_type:t,hex:dU,hsv:{_type:v,h:T,a:h,s:l,v:aP}},primaryColour:{_type:t,hex:dK,hsv:{_type:v,h:O,a:h,s:h,v:dJ},rgb:{r:aO,g:aO,_type:u,a:h,b:l},hsl:{h:O,l:cV,a:h,s:h,_type:w},alpha:h},_createdAt:cQ,_rev:cN,_type:J,_id:dd},inSitu:{artist:{_type:e,_ref:eg},_type:ey},_updatedAt:"2020-10-20T09:34:13Z",previewImageLandscape:{_type:g,asset:{_ref:ne,_type:e},metadata:{hasAlpha:m,lqip:nf,dimensions:{_type:k,width:W,aspectRatio:$,height:_},isOpaque:f,_type:i,palette:{lightVibrant:{background:nj,_type:b,foreground:c,title:a,population:l},darkVibrant:{title:a,population:c$,background:nl,_type:b,foreground:a}
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Corrugated metal walls, a dirt floor and a sound piece mimicking the effect of rain on a tin roof suggested the thinnest of thresholds between the self and a turbulent world outside."}],_type:o,style:n,_key:"3c13b125db7a"}],_key:"7ac327b2dafe",_type:s},{_key:"0d12a213a4e1",images:[{image:{metadata:{palette:{lightVibrant:{title:c,population:E,background:"#e7c4a3",_type:b,foreground:c},darkVibrant:{_type:b,foreground:a,title:a,population:mp,background:"#663b08"},lightMuted:{_type:b,foreground:c,title:c,population:G,background:"#d4c2cf"},vibrant:{foreground:a,title:a,population:aY,background:"#d92939",_type:b},dominant:{foreground:a,title:a,population:nE,background:nF,_type:b},_type:j,darkMuted:{population:nE,background:nF,_type:b,foreground:a,title:a},muted:{foreground:a,title:a,population:6.43,background:"#887164",_type:b}},hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAFgABAQEAAAAAAAAAAAAAAAAABgAH\u002F8QAIxAAAgEEAAYDAAAAAAAAAAAAAQMCAAQFERITISJBURQVMf\u002FEABUBAQEAAAAAAAAAAAAAAAAAAAQD\u002F8QAHBEAAQQDAQAAAAAAAAAAAAAAAQACAxEEITFB\u002F9oADAMBAAIRAxEAPwAPjcYp2MvAIQPLJABHWhOHsVvyAZdcMlQZrR6j9pfb377dNwpcgIbPj3RtiDYbmhhBn3EaoByTG6jq+Jwia8CvOrX8YnD\u002FAA4chKzD3w+aqxr76\u002FV2xadCqkiS9lTIor\u002F\u002F2Q==",dimensions:{_type:k,width:W,aspectRatio:$,height:_},isOpaque:f,_type:i},_type:g,asset:{_ref:"image-62f9687264963e4a266a0e6d7e38ba9b1a37e103-2048x1366-jpg",_type:e}},_type:r,_key:"d470bebd3582"},{image:{_type:g,asset:{_ref:"image-d1d2481cc357764b70e50e99db36db42bf58a9af-2048x1366-jpg",_type:e},metadata:{hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAYEBQf\u002FxAAhEAACAQQCAgMAAAAAAAAAAAABAgMABAURBhITIQcUQf\u002FEABYBAQEBAAAAAAAAAAAAAAAAAAMBBP\u002FEABkRAQACAwAAAAAAAAAAAAAAAAEAAgMSIf\u002FaAAwDAQACEQMRAD8ATvjhMX4\u002FBdqrSLIB1Zd72KbOY43jNvxOadbCL7g2VZfVY\u002FjsxcQqhhCox\u002FRU+bK3V7Z3FvPIWVE2CaHHmTiTVegnGIF3F1nbqpAPsCirN1DHZ1RU3h6z\u002F9k=",dimensions:{width:W,aspectRatio:$,height:_,_type:k},isOpaque:f,_type:i,palette:{_type:j,darkMuted:{foreground:a,title:a,population:fF,background:nH,_type:b},muted:{foreground:a,title:a,population:kN,background:"#82747a",_type:b},lightVibrant:{background:"#eac6b2",_type:b,foreground:c,title:c,population:cw},darkVibrant:{foreground:a,title:a,population:fG,background:"#792807",_type:b},lightMuted:{title:a,population:fy,background:"#d6b8ae",_type:b,foreground:c},vibrant:{title:a,population:bx,background:"#c3772e",_type:b,foreground:a},dominant:{_type:b,foreground:a,title:a,population:fF,background:nH}}}},_type:r,_key:"02aebe5fa2d9"}],_type:B},{_key:"524d20ffa42f",_type:s,text:[{_type:o,style:n,_key:"b9690ca84ae2",markDefs:[],children:[{text:"SHELTER ",_key:"b9690ca84ae20",_type:d,marks:[p]},{marks:[],text:"brought together paintings and sculpture from disparate series made over the past four years, populating the provisional structure with the artist's full cast of players. Per the museum's extensive curator's guide, \"Fordjour uses the metaphor and pageantry of sport as a way of considering questions of marginalization and inequity in America. The artistâs paintings explore both the vulnerability and strategy required of individuals as they navigate legacies of injustice and socio-political bias. Cheerleaders in splits, drum majors in backbends, athletes posing in awkward groupsâthese paintings convey an uneasy feeling of display and exposure. The artist sheds light on the pressures of exceptionalism and performance, while questioning the extent to which trailblazing figures are truly able to disrupt patterns of long-standing systemic inequality in the US.\"",_key:"b9690ca84ae21",_type:d}]}]},{_key:"c058d25a9ae3",images:[{image:{asset:{_type:e,_ref:ne},metadata:{hasAlpha:m,lqip:nf,dimensions:{height:_,_type:k,width:W,aspectRatio:$},isOpaque:f,_type:i,palette:{vibrant:{title:a,population:dj,background:nn,_type:b,foreground:a},dominant:{_type:b,foreground:a,title:a,population:bT,background:cZ}
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1starting point. Paintings, thought this painter of paintings, would not fit for this space.",_key:"12b71bcef8a60"}],_type:o},{_key:"0ff49fab22c3",markDefs:[],children:[{marks:[],text:"The artist had never made anything like this before, a patch textile, nor had he considered making something like this before. These works offer, however, a lesson in Mosleyâs method and larger philosophy, and they come from the same place as his paintings. Mosley respects elements, he wishes to understand them on their own terms, and he applies rigorous logic, at every step, as he brings them together to form an image and an object. He is a builder of thought, and he is a builder of artworks. This is our way into the work.",_key:"0ff49fab22c30",_type:d}],_type:o,style:n},{children:[{_type:d,marks:[],text:"Mosley made eight works for the lobby of 22 Bishopsgate, and they will be revealed in situ this autumn, give or take. The two wall hangings in this presentation represent unfinished business, ideas that the artist wished to pursue after the work for the large commission was completed in February 2020. The two wall hangings in this presentation are the first of their kind to be seen by or sold to the public.",_key:"991688e598ce0"}],_type:o,style:n,_key:"991688e598ce",markDefs:[]}],_key:"714c9c5ff43c",_type:s},{_key:"c17490a631b6",_type:s,text:[{style:n,_key:"e3703e3f71e1",markDefs:[],children:[{_type:d,marks:[],text:"The wall hangings are made in stages. Canvas shapes are cut and painted with powder pigment mixed with an ultraviolet liquid polymer as a binder. Groups of shapes are sewn together on to a backing, and then dyed again as a single piece. Note, here, the left-side harlequin motif on ",_key:"e3703e3f71e10"},{text:og,_key:"e3703e3f71e11",_type:d,marks:[p]},{text:", where the tonal range of a vibrant pattern is reduced, a purple skein of dye lying on top of it all, narrowing it down. The left and right edges are wadded for stability, to frame and give definition to the edge, the elements are assembled on the canvas, and a final sealing glaze is applied along with accents of oil paint, painted with a brush. The final mark is the painterâs mark.",_key:"e3703e3f71e12",_type:d,marks:[]}],_type:o},{style:n,_key:"c9b8199a6ff5",markDefs:[],children:[{_key:"c9b8199a6ff50",_type:d,marks:[p],text:oh},{_type:d,marks:[],text:" depicts a man and woman on a small staircase or stepstool. There is a cascade of brightly coloured confetti and a geometric device, perhaps a doorway. Eight cut-silhouette cameos ring around them as an aura, featureless, just pointed left or right. Four of the female silhouettes have topknots in their hair, a little bean, in common with the female protagonist. Perhaps they share some bond. The man and woman on the stairs bleed together, a symptom of their both hitting the same dye bath.",_key:"c9b8199a6ff51"}],_type:o},{_key:"a2185d447f44",markDefs:[],children:[{_key:"a2185d447f440",_type:d,marks:[],text:"It is hard to unpack the protagonistsâ movement on the stairs. Is he protecting her, supporting her, providing chivalry? Are they dancing? Or are they in opposition? Is she trying to get away? The eight floating heads around the piece have the barest of expressions, obscured or obliterated by dye. They can only represent spectatorship, not judgement. Mosley spoke of the manipulation of those eight watching heads. He was tuning an instrument, finding how their collective gaze could affect the action at the centre of the work, and the conclusions we might draw as viewers from their position."}],_type:o,style:n},{markDefs:[],children:[{text:"Mosley is a figurative painter, and his figures exist in the space and time, most broadly speaking, of any point in the past 200 years. Animals, clowns, musical instruments, wooden skiffs, formal dress â these elements are neither pinned to a particular moment in societyâs development nor pointedly arcane and outdated. Depictions of top hats might call to the second half of the 19th century, and depictions of bowler hats might call to the first half of the 20th century, but thereâs no corroboration of these cues, so theyâre never fixed in place. To have all these narrative elements demagnetized from culture, Mosley opens up their potential uses to his pictures. He cultivates a precise, fertile ambiguity.",_key:"49de6cdc0b1c0",_type:d,marks:[]}],_type:o,style:n,_key:"49de6cdc0b1c"},{markDefs:[],children:[{text:"The black-shrouded figure on the left side of ",_key:"f8475f075a460",_type:d,marks:[]},{_type:d,marks:[p],text:oi,_key:"f8475f075a461"},{_key:"f8475f075a462",_type:d,marks:[],text:" has a helmet of hair that is neither a bearskin nor a beehive, which means itâs free to function, formally speaking, like, say, a cypress tree in a Van Gogh painting, a vertical interruption breaking up a strong left-right axis, or a tree trying to get closer to god, or an intimation of a flame. When formal elements are not definitively one particular thing, they may be all sorts of other things, and perform beautifully. Itâs hard to tell, in fact, if the figure is a man or a woman."}],_type:o,style:n,_key:"f8475f075a46"}]},{_type:B,_key:"9e37a75752d0",images:[{_key:"bf65a5228dbe",image:{_type:g,asset:{_ref:"image-d068ef36370abf8bf99579e7d2e61388e7467c38-4134x4134-jpg",_type:e}
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1,_type:j,darkMuted:{_type:b,foreground:a,title:a,population:bg,background:qG},muted:{title:a,population:cy,background:qI,_type:b,foreground:a},lightVibrant:{population:C,background:qB,_type:b,foreground:c,title:c},darkVibrant:{foreground:a,title:a,population:q,background:qC,_type:b},lightMuted:{population:cE,background:cC,_type:b,foreground:c,title:a},vibrant:{title:a,population:l,background:qF,_type:b,foreground:a}},hasAlpha:m,lqip:qJ,dimensions:{height:as,_type:k,width:I,aspectRatio:x}}}],_rev:"dkrZ4uSKNgeMRGuxn0XrRx",title:bm,_createdAt:rc,slug:{current:pS,_type:ai},_id:"b779df27-9fa1-4b6c-8baa-604d1f5eeea5",artists:[bc],_type:gl,_updatedAt:rc},{standfirst:[{markDefs:[],children:[{_type:d,marks:[],text:"There he is on a samizdat VHS compilation, left-handed, spray can dancing over the green skin of a Stadtbahn car. The camera shakes, the Beastie Boys ask what cha want. Mascherâs edited part is about two minutes long. The whole tag, a few metres wide, only took a few minutes more. There isnât much time to work in broad daylight.",_key:"58ac860f048c0"}],_type:o,style:n,_key:"58ac860f048c"}],_id:"15ae72ff-f170-4e54-888d-8ef5b7fe756d",_createdAt:"2020-06-04T10:10:04Z",_updatedAt:"2020-06-04T10:54:40Z",title:"Presence Above All",_type:cu,body:[{_type:o,style:n,_key:"8237773becd9",markDefs:[],children:[{_key:"8237773becd90",_type:d,marks:[],text:"Christof Mascherâs Street turns river, a 2015 painting in oil on board, is an urban nocturne washed with the pale purply blue that belongs only to a clear night beneath a big moon. Gas streetlamps set cream-coloured orbs on either side of the scene, repoussoir glass gems from a European city of the 1820s. A boulevard carves through the landscape, parcelling it up. The painting is tight, everything in its proper place. Itâs a resolved and formally locked-in rectangle, but isnât showy about it. Itâs just a little thing, a romantic but unremarkable scene. Nothing important is happening. Itâs winter. Mascher paints bare trees and iron railings here with the casually virtuosic stickwork of Raoul Dufy or Ludwig Bemelmans, the language of Impressionism and illustration. It is an easy, masterful sketch."}]},{children:[{_type:d,marks:[],text:"Then, in a dragging, unhurried brushstroke with a jiggle in it, the street turns river. Narrative begins. The scene is now both apocalyptic and Edenic. An outline of a canoe emerges from a shadow. Two obsidian blobs in the background could be whales. They look happy. Where are we? Are we in end times, after the flood? Or are we coexisting with nature, in a peaceful parallel universe, uncorrupted in its infancy?",_key:"d929a2fe2abb0"}],_type:o,style:n,_key:"d929a2fe2abb",markDefs:[]},{_key:"682253360512",markDefs:[],children:[{text:"Christof Mascherâs initial art practice, in the 1990s, was large-scale graffiti on trains in Northern Germany. There he is on a samizdat VHS compilation, left-handed, spray can dancing over the green skin of a Stadtbahn car. The camera shakes, the Beastie Boys ask what cha want. Mascherâs edited part is about two minutes long. The whole tag, a few metres wide, only took a few minutes more. There isnât much time to work in broad daylight.",_key:"6822533605120",_type:d,marks:[]}],_type:o,style:n},{_type:o,style:n,_key:"ad99ebd8ced1",markDefs:[],children:[{marks:[],text:"It is dangerous to bring up graffiti. Not because graffiti is transgressive, antisocial or illegal. Far from it. The opposite. Itâs dangerous because the same tribe of artists of whom in 1974 Norman Mailer wrote âthe beginning of another millennium of expression may be with them... for we do not know with what instruments we will draw in years to comeâ have now, in those years to come, become marketable and been made polite. An artform fueled by futurism, poetry and revolution is now easily approximated and often overwhelmed by canned versions of itself. A rerouting happened at a moment in 1980s New York when the art world placed graffiti in the lineage of Popart, and while Pop will remain current as long as Capitalism flourishes, advanced consumer culture is not necessarily of interest or relevant tograffiti.",_key:"ad99ebd8ced10",_type:d}]},{_type:o,style:n,_key:"d30c8169f9bc",markDefs:[],children:[{_type:d,marks:[],text:"Graffiti is now part of a commercial hydra called street art, and street art is a big-money hustle and its own parallel art world, a cottage industry anda ghetto. The street art thing is short on discourse. Itâs mostly about attitude, theatre and basic iconography. Itâs uncool and a drag. This is the reason that graffiti is kept awayfrom contemporary art catalog essays.",_key:"d30c8169f9bc0"}]},{markDefs:[],children:[{text:"We claim and explicitly acknowledge graffiti in this contemporary art catalog essay, however, because it is essential to our understanding of Christof Mascher. Graffiti, at its best and most beautiful, is about reacting to the environment and finding a private space to create within it, with freedom and j
1oy. Mascherâs painting practice is about this sort of dexterity and liberation. And, just like graffiti, Mascher paints with no rules. He is antagonistic and gorgeous, goofy, tight, whatever. He paints from inside the work, finding a pocket, by himself, where anything can happen. Street turns river,etc.",_key:"f4129032ddb80",_type:d,marks:[]}],_type:o,style:n,_key:"f4129032ddb8"},{markDefs:[],children:[{_key:"1a7a345b35130",_type:d,marks:[],text:"Mascher is a painter of landscape, of built environments setinnaturethat are both microcosmic and epic in scale. They refuse to exist anywhere particular or at any particular time. There are two dozen utopiasâin the originalThomasMore senseofâno-placesââinthisexhibition.Hereare some of them. Loom depicts a twinkling night in a tiny hilltop cathedral town. The centre of the scene distorts slightly as if seen through a lens; a hot viridian sunset does not resemble any sunset on earth. North Bend is a faceted mountainside that chisels formally to a cone, an old-school chunkofprimal geometry like Cézanneâs Mont Sainte-Victoire or Bruegelâs Tower of Babel. It is also, perhaps, the bobbing hills of Malibu, or a 3D environment in a video game where people stalk around and shoot each other dead. The mountain is surrounded by raw canvas, emphasising its inability to commit to a larger world. Pool Iâa work that, like Loom, shines with a topcoat of glossy, homemade lacquerâis a fetid swamp
1in a tropical place, tinged with chemical hues. Maybe Vietnam, dyed weird by Agent Orange or Orange Sunshine, maybe a primordial ooze, somewhere ancient. The tubular ladder on the waterâs back lip leads us to leisure, somewhere wealthy and in our time. Yes, another small glossy work, is a landscape with an etched, flat foreground, rendering the scene something likea geological cross-section.Thebottomthird of the painting is covered by a hieroglyphic, relief-like rendering of a 1950s ice-cream cart and a thatch of flowers. The top third has a writtennote, in blue pen, that reads âYt Modern Master \u002F 9:00 Matisse.â It seems to be a note written in haste on a surface next to a telephone, a reminder to meet Matisse for breakfast at nine. I mentioned this to Mascher, who found this amusing,thenclarifiedthatitisamarkerofthenine-minutemarkinsome good footage of Matisse on YouTube. It is a crazy, messy painting, and this crazy painting still reads as a landscape. A suite of smallwatercolours, a new style for the artist, combine florid soaks of colour with articulated graphic lines, creating an array of architectural cues from robust Tudor timber to Carpenterâs Gothic. Graphics define the scenes and keep the inherently goopy medium sharp, but their role is not fixed. Sometimes the lines take over. Douglas fir, a cabin in the woods with a lantern-carrying ghost at the door, is overcome by the titular trees, creating the beginnings of a textile herringbone choking thesurface."}],_type:o,style:n,_key:"1a7a345b3513"},{markDefs:[],children:[{text:"Walden, the largest of the recent works exhibited in Street turns river, is a stacked, dense vista. Everything appears to be very near. Distance looks tangibleâthe next bump, just across the valley, that tight soundstage space of the sort you can traverse and get to the back of in Neoclassical paintings. But you canât grab it or reach it at all. A pocket valley scene becomes something giant. It is verdant European country, green over chalky hills. The sky is pale. The light is flat and antiseptic, thereâs very little yellow anywherein the painting. It is a sculpted landscape, quarried and shaved. There is a colossal monument to a man in flowing Roman robes in themiddle distance.",_key:"b563f2334c700",_type:d,marks:[]}],_type:o,style:n,_key:"b563f2334c70"},{_type:o,style:n,_key:"b7fc8d956b4d",markDefs:[],children:[{marks:[],text:"A docile squirrel, approximately the size of a single-storey house, rests on his forearm. Round white forms bounce and echo back through the terrain. There are globe streetlamps in the foreground, a series of white eggs and balls placed through the fields, intimating Magritte and frivolous18th-century garden ornaments alike, and the moonâor perhaps another, even larger monumentânestled on the furthest peak. Thereâs a few small communities and farms. Thereâs a row of buildings along a bluff, Colonial in appearance, with columns and covered porches. Itâs a deceptive painting. Walden is encyclopedic in scale, depicting an entire society, yet it reads like romantic landscape painting, letâs call it personal discovery painting, Caspar David Friedrich or Frederic Church, the kind of painting with two guys standing on slopes pointing at nature. The painting constantly shifts inscale. It is both a moment and a world.",_key:"b7fc8d956b4d0",_type:d}]},{_type:o,style:n,_key:"f515a7c7265f",markDefs:[],children:[{_type:d,marks:[],text:"The venerable American critic and art historian Hal Fosterâs new précis of themes in western art of the past 25 years, Bad New Days, describes a contemporary mood of dislocation and numbness brought about by the trauma of violence, the dehumanising effects of technology and the diffusion and erosion of intellectual authority. He paints a picture of chaos and emotional emergency. Certain strains of contemporary figurative art edge toward pure abjection, the state of a wound that wonât heal as opposed to the closure of a corpse, the way ongoing war with Islam keeps memories of September 11th fresh. At another end of recent art practice Foster notes that the popular artistic tendency toward the archival, a noble aim to write new accurate histories, at times share qualities with Freudâs de
1signation of paranoiaâa practice of forced connections and projecting oneâs own meaning on the world as a balm. Performance art is lionised and precious to the contemporary art world for its connection to the body, yet many of its latest incarnations are ambient and ultimately depressing, like watching television for company. Scholarship and discourse is considered an impediment in certain corners of a postcritical landscape, creating meaningless discussions that lack foremen or stenographers. Indeed, in the bookâs only nakedly emotional moment, Foster issues a steaming, prophetic warning about what would happen if people stopped reading art writing and philosophy. In total, Fosterâs aesthetic landscape is one of confusion and desperation for a connection.",_key:"f515a7c7265f0"}]},{_type:o,style:n,_key:"2f80ba3b00c0",markDefs:[],children:[{marks:[],text:"The state weâre in is a symptom of real-world turmoil, for sure, but in aesthetic terms itâs a symptom of Postmodernism and its uncertain legacy. Postmodernism was an era of creation without reproach, an era of total possibility. Its rejection of doctrine and rules provided an opportunity to see the artistic impulse as a rhizome rather than a road, growing in multiple directions, progressing on alternative trajectories to the stubborn straight ahead of Modernism yet still being positive. It was a good, wild time, but through institutionalisation and market forces it became its own conservative opposite, another walled-in, pedantic empire. It ceased to be about things; it grew to mostly be about itself. You may draw a comparison here to graffiti and street art, if you like. Itâs the feeling of getting to the end of a great journey with the only option of doubling back and doing it again.",_key:"2f80ba3b00c00",_type:d}]},{markDefs:[],children:[{text:"In a recent interview with Jörg Heiser, the German painter Daniel Richter notes that many of the themes in this yearâs major contemporary painting state-of-the-union survey The Forever Now at MoMA in New York have been present in Albert Oehlenâs painting since 1992. âWhen I look at contemporary painting,â he says, âI find it interesting and intelligent. ButI canât fight the feeling Iâm also being told how painting works, and the result is too clever for itâs own good.â What do we want painting to be after Postmodernism?",_key:"b524c7b9fcb10",_type:d,marks:[]}],_type:o,style:n,_key:"b524c7b9fcb1"},{_type:o,style:n,_key:"f9c5cbcbc61f",markDefs:[],children:[{marks:[],text:"How do we reengage with the world? The art state weâre in now has us dazed, waking up from a party and in need of a plan for the day ahead. You donât anticipate a hangover when youâre having a good time.",_key:"f9c5cbcbc61f0",_type:d}]},{style:n,_key:"45ea2ad132b4",markDefs:[],children:[{marks:[],text:"Christof Mascher matured in the twilight of Postmodern art, in Germany, the country that developed the most and the best Postmodern artâfrom Beuysto Genzken, Knoebel, Krebber, Immendorff, von Bonin, Palermo, Polke, Kippenberger, an astonishing diversity of makers. And Mascher knows his roots first-hand, having studied at the Hochschule für Bildende Kunst in BraunschweigunderWalterDahn,ananchorofthe1980sGermanavant-garde and paragon of âbad paintingâ via the early and important Mülheimer Freiheit group in Cologne. Mascher understands the adversarial position of the Postmodern artist, the enduring âdisruptionâ vibe holding over from Situationism. He understands that attitude, but is of a new generation. He wants more. While the internet endures as the supreme realisation of the Postmodern dream and defines the freedoms of the Millenial generation, Mascher seeks alternative freedoms of expression that are always tied to presence in the world. This is the graffiti artistâs impulse, and the worldview that Mascher has built through his painting practice. His work is about recognition and cognition: recognition is absorbing the landscape from being in it; cognition is the engine to invent new forms within it. Mascher builds the landscape anew while reacting to its foundations. He values presence above all.",_key:"45ea2ad132b40",_type:d}],_type:o},{markDefs:[],children:[{_type:d,marks:[],text:"Mascher values the land, and is thankful for the fact he is free to use it as he pleases. âIn Germany, it was all about where you lived at the moment they built the border,â he writes. âI was ten years old when the wall came down. I watched it on TV, and all over Germany we had these poor fellas from the east trying to buy as much jeans, cigarettes and bananas as possible.â Mascher is grateful for the ability to live in the land and enjoy its inspiration. He needs to be an artist, but he doesnât want to retreat, escape, problematise or render the world obscure. His art is good art for our time.",_key:"5ede453a0c500"}],_type:o,style:n,_key:"5ede453a0c50"}],_rev:"4lI05YT2IZBTuL1eHuhicy",slug:{current:"presence-above-all",_type:ai},author:"William Pym"},{_createdAt:"2020-06-04T11:30:16Z",title:eH,slug:{current:"works-on-paper",_type:ai},_type:"carousel",_id:"ed27545f-462a-430a-91a9-42c475a2f99e",artists:[ca],_updatedAt:"2020-06-04T12:31:18Z",description:[{markDefs:[],children:[{_type:d,marks:[],text:"Ryan Mosley has produced x, y z. 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1s are concerned more with an internal consciousness than the outward appearance of things. Washes of thinned pigments and veils of screenprint layered on often unprimed canvases become understudies for memories, histories and thought. The ",_key:"fcb233e88dfc0",_type:d,marks:[]},{text:"Tin Drum ",_key:"fcb233e88dfc1",_type:d,marks:[p]},{_type:d,marks:[],text:"series, exhibited at Josh Lilley in 2012, took the latent energy of rehearsal spaces and libraries as its subject; rooms whose interiors often share unremarkable common attributes â the pot plant, an old sofa, peeling posters and adverts â are also sites where the smallest ideas can take extraordinary form. Works from the 2015 ",_key:"fcb233e88dfc2"},{text:"Green Lanes ",_key:"fcb233e88dfc3",_type:d,marks:[p]},{_type:d,marks:[],text:"series focused on everyday gathering places in ethnically diverse neighbourhoods in London: from the shops and cafes of Green Lanes to a launderette on Golborne Road, Goss evoked shared public spaces in a constant state of transience, collapsing geographies to exist simultaneously in London and in the cities and social landscapes of the communities that shape them.",_key:"fcb233e88dfc4"}],_type:o,style:n,_key:"fcb233e88dfc",markDefs:[]},{_key:"02f3b71703e3",markDefs:[],children:[{_type:d,marks:[],text:"De Ramp was a catastrophic North Sea flood that devastated the lowlands of the Netherlands and areas across the east coast of Britain in 1953. Gossâ Dutch relatives were among thousands forced to evacuate their homes during this disaster, and traces of these memories linger and resurface in his new paintings. Documentary photographs of flooded landscapes and its displaced communities from this period combined with the watery lagoons of an unrecog- nisable future London â reimagined by Goss from descriptions in JG Ballardâs 1962 apocalyptic novel ",_key:"02f3b71703e30"},{marks:[p],text:"The Drowned World ",_key:"02f3b71703e31",_type:d},{_type:d,marks:[],text:"â form the catalysts for a new series of London paintings that taps into an edge of uncertainty. They carry a mood that seems pertinent to a sociopolitical and individual present.",_key:"02f3b71703e32"}],_type:o,style:n},{markDefs:[],children:[{_key:"741e7030e8c30",_type:d,marks:[],text:"It is the striking tension of the city against a tempestuous natural world that distinguishes and draws together the De Ramp paint- ings. In "},{_type:d,marks:[p],text:"Stairwell",_key:"741e7030e8c31"},{_type:d,marks:[],text:", an underdrawing of communal stairs in a block of flats has been soaked by red pigment, making the architecture barely perceptible. A small, lofted window offers a glimpse of the outside world, a threshold confused by the plants creeping in on the upper right edge of the canvas to suggest that this building is in the early stages of ruin. From interior to exterior, ",_key:"741e7030e8c32"},{_key:"741e7030e8c33",_type:d,marks:[p],text:"A Green Thought in a Green Shade "},{marks:[],text:"depicts a tower block at the edge of the pond in Southwark Park, but it could be any urban common. The close composition swells. The tension between the built environment and the foliage is claustrophobic, an idea extended by a tower in ",_key:"741e7030e8c34",_type:d},{_key:"741e7030e8c35",_type:d,marks:[p],text:"High Rise "},{marks:[],text:"silhouetted against a sulphuric yellow sky, foregrounded by flooded parkland. The saturated colours of this and other works mark a departure from Gossâ character- istically muted palette, engaging the series with a heightened register of alert and temperature.",_key:"741e7030e8c36",_type:d}],_type:o,style:n,_key:"741e7030e8c3"},{_key:"8162a308e7d6",markDefs:[],children:[{marks:[],text:"Gossâ compositions are carefully researched, and he mines imagery from a range of source material including drawings, photographs, art historical references and literature. ",_key:"8162a308e7d60",_type:d},{marks:[p],text:"King Rooster ",_key:"8162a308e7d61",_type:d},{_type:d,marks:[],text:gr,_key:"8162a308e7d62"},{text:"Grazing",_key:"8162a308e7d63",_type:d,marks:[p]},{_key:"8162a308e7d64",_type:d,marks:[],text:", together with "},{marks:[p],text:"Angel II ",_key:"8162a308e7d65",_type:d},{_key:"8162a308e7d66",_type:d,marks:[],text:gr},{text:"Harmony Pink",_key:"8162a308e7d67",_type:d,marks:[p]},{marks:[],text:", imagine rising street waters during a flood, and these paintings marry contemporary London â its high streets of nail bars and lampposts â with imagery from found photographs of people fleeing the De Ramp floods in the fifties. Deluge is a recurring subject in art history, gripping artists from Hokusai to John Martin and Winifred Knights, and writers from Ballard to Margaret Atwood. It is a universal mythology inextricably tied to anxieties of cities and internal angst.",_key:"8162a308e7d68",_type:d}],_type:o,style:n},{_type:o,style:n,_key:"e325059fc421",markDefs:[],children:[{_key:"e325059fc4210",_type:d,marks:[p],text:"Undertow "},{_type:d,marks:[],text:"is a submerged landscape. It distils a mesmerising calm, one that echoes Claude Monetâs ",_key:"e325059fc4211"},{_key:"e325059fc4212",_type:d,marks:[p],text:"Flood Waters "},{text:"of 1896, until the eye detects figures in the distance clinging to a tree trunk, struggling against invisible undercurrents. This work is linked to the rhythmic
1surface patterns and currents in ",_key:"e325059fc4213",_type:d,marks:[]},{_key:"e325059fc4214",_type:d,marks:[p],text:"Flotsam"},{text:", drawing influence from filmmaker Andrei Tarkovskyâs preoccupation with waterâs ability to mirror the world and occlude everything lurking under the surface. This image is pushed to abstraction in the interlocking, rippling lines in ",_key:"e325059fc4215",_type:d,marks:[]},{_key:"e325059fc4216",_type:d,marks:[p],text:"H.O.T .R.I.C., a "},{_type:d,marks:[],text:"screenprint on raw canvas. A jostling between restrained figuration and abstraction is a constant in Gossâ work, particularly in paintings such as ",_key:"e325059fc4217"},{marks:[p],text:"Zeeland ",_key:"e325059fc4218",_type:d},{_key:"e325059fc4219",_type:d,marks:[],text:gr},{text:"Itâs Running Backwards",_key:"e325059fc42110",_type:d,marks:[p]},{marks:[],text:", where visual infor- mation is pared back, removed, washed or scraped away, and slips in and out of the recognisable and immaterial.",_key:"e325059fc42111",_type:d}]},{_type:o,style:n,_key:"83aca68100da",markDefs:[],children:[{text:"The interior scene of ",_key:"83aca68100da0",_type:d,marks:[]},{_type:d,marks:[p],text:rt,_key:"83aca68100da1"},{text:"has a parrot looking out of a window onto a view of a brutalist tower block. The shifting planes of the walls, window and tipped table paired with busy patterns challenge the stability of perception, both inviting and preventing the viewer from entering the space. The rippling patterns in this and other paintings in the series derive from images of flood water in photographs of De Ramp, removed from their context and enlarged by a photocopier. Water motifs become woodgrain or spectral fabric patterns when screenprinted onto the canvases, and this technique, along with the process of making collages that often form the starting points for Gossâ large works, serves to fracture the language of painting and slow down oneâs ability to digest images. The parrot is part of an ongoing series of paint- ings Goss has made featuring ring-tailed parakeets that have colonised London parks and have become an invasive species to local flora and fauna. As in ",_key:"83aca68100da2",_type:d,marks:[]},{_type:d,marks:[p],text:"Tower Cars and Parakeets",_key:"83aca68100da3"},{_key:"83aca68100da4",_type:d,marks:[],text:", in which two birds occupy a flat, Goss engineers a contemporary and irreversible encounter between two natural worlds previously unaware of the otherâs existence. "},{marks:[p],text:rt,_key:"83aca68100da5",_type:d},{text:"is based on a drawing of the Barbican Conservatory, perhaps the most Ballardian place in London, where the vertiginous concrete city brushes against tropical plants. This is also the subject of the vivid painting ",_key:"83aca68100da6",_type:d,marks:[]},{_type:d,marks:[p],text:"New Saigon, ",_key:"83aca68100da7"},{_type:d,marks:[],text:"a window from a classic interior looking out into a dense, lush jungle. Like a television or theatre set, the exotic landscape seems unreal.",_key:"83aca68100da8"}]},{markDefs:[],children:[{marks:[],text:"The familiar has capsized in this series of paintings, emitting a contemporary disillusionment and unease about the world and the individualâs place within it. The paintings envision liminal spaces that are both representational and psychological, flooded with melancholy and anxiety. It is a feeling nuanced daily at high tide on the Thames, when the city starts to swell.",_key:"177658899d400",_type:d}],_type:o,style:n,_key:"177658899d40"},{children:[{_key:"0273ef8ee3300",_type:d,marks:[],text:bb}],_type:o,style:n,_key:"0273ef8ee330",markDefs:[]},{style:n,_key:"af7bfc711d75",markDefs:[],children:[{_type:d,marks:[],text:"This city is exceptional.\nIt was built vertically\nand does not stand on the earth. It grew like ivy on a wall.\nWe who live in it walk\nup and down\nwith the ease of centipedes.\nAt right angles\nto the plain and the sea\nwe live on the walls of a shaft\nA river runs between our streets like rain down bark.",_key:"af7bfc711d750"}],_type:o},{_key:"adb16109bfd3",markDefs:[],children:[{_key:"adb16109bfd30",_type:d,marks:[],text:"From John Berger and Jean Mohr,"}],_type:o,style:n},{style:n,_key:"e4e80e125222",markDefs:[],children:[{_key:"e4e80e1252220",_type:d,marks:[p],text:"A Seventh Man"}],_type:o},{_key:"109a0f264356",markDefs:[],children:[{marks:[],text:bb,_key:"109a0f2643560",_type:d}],_type:o,style:n},{_key:"ed1ee8c0d94d",markDefs:[],children:[{_type:d,marks:[],text:"I lie sleepless\nin a stone-built\nhouse. The last\nrevellers have abandoned the streets and, save for\nthe Regnitz rushing\nover the weir\nthere is a hush.",_key:"ed1ee8c0d94d0"}],_type:o,style:n},{_key:"7e615acc9c79",markDefs:[],children:[{marks:[],text:"Whirlpools drag me under the water and I roll along\nthe bed of the river with the stones",_key:"7e615acc9c790",_type:d}],_type:o,style:n},{markDefs:[],children:[{_type:d,marks:[],text:"a gasping fish\nI return to the surface, my eyes wide with fear.",_key:"4c88ab54fd0a0"}],_type:o,style:n,_key:"4c88ab54fd0a"},{_type:o,style:n,_key:"4af8b638aa41",markDefs:[],children:[{marks:[],text:"From W.G Sebald, ",_key:"4af8b638aa410",_type:d},{_key:"4af8b638aa411",_type:d,marks:[p],text:"Across the Land and the Water: Selected Poems 1964â2001"}]},{_type:o,style:n,_key:"99a576bffa16",markDefs:[],children:[{_key:"99a576bffa160",_type:d,marks:[],text:bb}]}]},{slug:{current:"cadwallader-at-gallery-name",_type:ai},_rev:"dkrZ4uSKNgeMRGuxn0XnLx",_type:gl,images:[{metadata:{palette:{muted:{foreground:a,title:a,population:ru,background:rv,_type:b},lightVibrant:{title:c,population:q,background:"#f4c49a",_type:b,foreground:c},darkVibrant:{background:"#5c4127",_type:b,foreground:a,title:a,population:l},lightMuted:{background:"#d7c7b7",_type:b,foreground:c,title:c,population:eb},vibrant:{_type:b,foreground:a,title:a,population:q,background:"#b27d4c"},dominant:{background:rv,_type:b,foreground:a,title:a,population:ru},_type:j,darkMuted:{foreground:a,title:a,population:q,background:"#4c4444",_type:b}},hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAYDBQf\u002FxAAkEAABAwMDBAMAAAAAAAAAAAABAAIDBAUREhMxBhRBcSFRYv\u002FEABUBAQEAAAAAAAAAAAAAAAAAAAME\u002F8QAGxEAAgIDAQAAAAAAAAAAAAAAAAEDBBEUMQL\u002F2gAMAwEAAhEDEQA\u002FANqmvclPde02wWYzq88KXpi+PvVLNI+HaMchZj7VSy5yPcXmOLVjnT8ohrZi1wYRGPwMKBW\u002FKfclrqtrmBxbICPI9oScbnVsOBKT7CEu3GHqyH\u002F\u002F2Q==",dimensions:{_type:k,width:bh,aspectRatio:bp,height:bz},isOpaque:f,_type:i},_type:g,_key:"caea96118a14",asset:{_type:e,_ref:"image-152fdec1dccdbdc3e67ca39f1c0ca3ea642da6eb-2500x1667-jpg"}},{_key:"ac52ddac76b0",asset:{_ref:"image-2b930a9de9ba0dc574d04ea404cc08ee4596c1f2-2500x1667-jpg",_type:e},metadata:{dimensions:{height:bz,_type:k,width:bh,aspectRatio:bp},isOpaque:f,_type:i,palette:{_type:j,darkMuted:{title:a,population:ci,background:ry,_type:b,foreground:a},muted:{background:"#8a7a7b",_type:b,foreground:a,title:a,population:bu},lightVibrant:{population:Y,background:"#ecbb95",_type:b,foreground:c,title:a},darkVibrant:{foreground:a,title:a,population:aw,background:"#170c0b",_type:b},lightMuted:{title:a,population:q,background:"#b4bccc",_type:b,foreground:c},vibrant:{population:bL,background:"#c99061",_type:b,foreground:c,title:a},dominant:{population:ci,background:ry,_type:b,foreground:a,title:a}},hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAUGBAj\u002FxAAiEAACAQMEAgMAAAAAAAAAAAABAgMABAUGERIhE2EUMUH\u002FxAAVAQEBAAAAAAAAAAAAAAAAAAACBP\u002FEABsRAAICAwEAAAAAAAAAAAAAAAACAQQDERQx\u002F9oADAMBAAIRAxEAPwDoKS7WKCSUnpVJO\u002FqkundVW2ennit3RjENzxNITkrqfnzlOzdEflZsQfjSym2VIi32UUDeo2upE60WLTaY9L\u002Fydns0VLJlblFALBvZFFLsxh5HP\u002F\u002FZ"},_type:g},{metadata:{lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGgAAAQUBAAAAAAAAAAAAAAAAAAEDBAUGB\u002F\u002FEACEQAAICAgIBBQAAAAAAAAAAAAECAwUAEQQSUQYhIjKB\u002F8QAFgEBAQEAAAAAAAAAAAAAAAAABAEC\u002F8QAGhEBAAIDAQAAAAAAAAAAAAAAAQACBBEUQf\u002FaAAwDAQACEQMRAD8A7l6nvoqPgx8maRERm67fHKW1S2rouZEQyPvRXKa7nWxiWLlwRSRhthWXfvi16mBEjhboi\u002FVVGgPzAudQtojTDsm2ac9N\u002FNyD4wyCjM6gudnzhl6zwmeZn\u002F\u002FZ",dimensions:{aspectRatio:bp,height:bz,_type:k,width:bh}
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Sanguine, almost pleased, she regards the fruit, holding it up to her face as if to test its flesh, scent its perfume. Her slim face contours down to shapely hips, and you know she holds more than just fruit in the palm of her hand. Is she Pomona, a goddess lost from the orchards of ancient Rome? Olympian Demeter? Or her daughter Persephone, contemplating in the succulence of fruit the generative force of life? Maybe sheâs an errant priestess of Dionysus before the ecstatic dance, ready to crush the fruit and let its juices drip, sticky and wet, into her mouth and down the folds and contours of her body. Or even Eve, right before she takes her first bite of forbidden knowledge, the pleasure and danger ripe in her hand. All the Muses in a single form, or perhaps a goddess further flung than the Western imagination, who danced in groves and wrought life and death with the turns of her body?"}],_type:o},{_type:o,style:n,_key:"5356a0c948e8",markDefs:[],children:[{_key:"5356a0c948e80",_type:d,marks:[],text:"It doesnât matter; sheâs all of these and none. Goddesses and fallen women always get cast in roles by their worshippers and judges. Our marble woman, statuesque in every sense, doesnât need legend or myth, disobedience or symbolism, to define her as she stands surveying her domain. Her hilltop hosts a cemetery, a grassy yard of gravestones and memorials, hundreds of thousands of bodies moldering beneath the well-kept grasses and locked into mausoleums behind names and prayers carved and cast, lifetimes caught between the numbered years. She holds life in her hands and a legion of the dead at her feet."}]},{_key:"6e69f04fc520",markDefs:[],children:[{marks:[],text:"The freeways in the distance sinuously snake in all directions; their concrete skeletons poured into place channel the life of the metropolis. From here she can see for miles, row after row of stucco houses and faux-Spanish haciendas, boulevards of botanicas and cafés, boutiques and liquor stores, drive-throughs and taco stands, and those crystal-palace malls engulfed in parking lots, each car a scatter of chrome and color gleaming in the sun like wavelets. In the distance she can spot all the sad, gray factories coughing out airplanes and bikinis, and beyond those the glistening, glassy corporate towers. She can witness the contours of the shrubby, undeveloped hills fade to brown through each passing drought, their peaks littered with power lines and transmitters. And ribboning through it all, she sees the rivers dying as drainage ditches hefting more concrete than the highways. During the day, the tourists who come to the cemetery on the hill can snap pictures of her presiding, a still sculpture with an undeniable beauty, another weird piece of potential kitsch in this place littered with mourning angels and weeping mothers, praying saints and merciful de
1ities, pointed obelisks and bronze effigies. From this necropolis, she can see the swaying palms and smog-choked skies, all the manufactured thoroughfares and walled gardens, the gridded streets overlaying an almost forgotten geography of a city that invented itself with entertainments and promises of prosperity, where everything can grow even if it has to do it through cracks in the concrete.",_key:"6e69f04fc5200",_type:d}],_type:o,style:n},{_key:"b871cfc6bc11",markDefs:[],children:[{_key:"b871cfc6bc110",_type:d,marks:[],text:"\nTHE MYTHS OF SUCCULENT CONCRETE\nA. BERARDINI"}],_type:o,style:n},{style:n,_key:"fe42a584ab37",markDefs:[],children:[{_key:"fe42a584ab370",_type:d,marks:[],text:rG}],_type:o},{_type:o,style:n,_key:"2e0f7fcf0f5e",markDefs:[],children:[{marks:[],text:"She runs fingers along the curves of concrete freeways and off-ramps. The orchards that once filled California are long since chopped down, but she still finds a scatter of fruit trees in yards and parklets, in road medians and in those fingers of wilderness that reach into the city from the surrounding mountains and hills. She peers past neon signs into the windows of bars to watch weariness melt into inhibition with each wet drink, laughter and sorrow with every shot. She peers into bedrooms and parked cars at lovers, gentle and rough, faces smashed into kisses, entwined bodies slicked with sweat. She steps through the acres of factories and miles of parking lots surveying what the world has become since the first gods stepped out and away from the worship of humans, seeking solace and ecstasy from belief.",_key:"2e0f7fcf0f5e0",_type:d}]},{style:n,_key:"5dc1e262ebc9",markDefs:[],children:[{marks:[],text:"She is drawn to the living, and everything she touches turns to a memorial of itself, a monument to whatever sparks her desire.",_key:"5dc1e262ebc90",_type:d}],_type:o},{_key:"4e9e25f7caa0",markDefs:[],children:[{_type:d,marks:[],text:"When she fingers ivy, it lusters into silver threads; palm fronds smolder into menacing black iron; their seeds turn to rose quartz and jade. She is blessed and worshipped by the wild parrots whoâve escaped cages and joined forces in the semi-tropics of a thousand invasive trees, clustering on denuded umbrellas and collapsed chandeliers, barred windows and spiked fences. Her fruits can bear the weight of industry. Rather than fight modernity, she synthesizes its detritus into the beauty of ancient forms, making memorialsâbut ones tongued with just a lick of lust and a tickle of humor. She isnât dour, our goddess. Her mysterious smile marks a mysterious delight. Her touch is both opulent and humble, heavy as concrete and light as dangling necklaces.",_key:"4e9e25f7caa00"}],_type:o,style:n},{markDefs:[],children:[{marks:[],text:"Discovered by a thrift-store archaeologist, the goddess gets channeled in arcane rituals: late-night sifting through online auction houses for pink bowling balls to be strung into a giantessâs string of pearls, malingering in the hulking ruins of old steel mills, bejeweling rotten fruit into glittering spheres, filling balloons with concrete and chaining them to marble lest they float away; when bunched together they hold all the plump delectability of grapes ready to burst, an altar to worship the ecstatic, each a priestess of Dionysus. They are both buoyant with bulbous life and exhausted by their weight, both psychic and physical. This goddess lost from pagan rituals and forgotten cults makes her own iconography out of concrete and iron, lost junk and found objects.",_key:"537795a6ee520",_type:d}],_type:o,style:n,_key:"537795a6ee52"},{_key:"7dd3d899c678",markDefs:[],children:[{_key:"7dd3d899c6780",_type:d,marks:[],text:"And this amateur archaeologist is of course the artist Kathleen Ryan. After a lifetime in California sheâs left for New York, but she has taken the rituals of this marble goddess with her. The goddess is perhaps incidental, a powerful beauty spotted and employed by Ryan simply as the image for an exhibitionâbut maybe not. With each sculpture the artist elevates the mundane into the mythic, makes the utilitarian sensual, bringing her sculptures to life with a deft knowledge of material and a witchy force. She makes the chill hot, the dry moist, the soft hard, and the weighty weightless again."}],_type:o,style:n},{_type:o,style:n,_key:"0c41db1cf889",markDefs:[],children:[{_type:d,marks:[],text:"Kathleen Ryan (1984, Santa Monica) in an artist based in New York and L
1os Angeles. She has presented solo exhibitions at Josh Lilley, London; Ghebaly Gallery, Los Angeles; CC Foundation, Shanghai and Arsenal Contemporary, New York. In 2017 she received a commission from the Kunsthistorisches Museum, Vienna, for its annual project in the Theseus Temple and will present a solo exhibition at the MIT List Visual Arts Center in February 2019. She holds an MFA from the University of California, Los Angeles.",_key:"0c41db1cf8890"}]},{children:[{text:"Andrew Berardini is a writer and Los Angeles editor for Mousse. He has a book forthcoming about LA from Hesse Press and will co-curate Kris Lemsaluâs representation for the Estonian Pavillion in the next edition of the Venice Biennale.",_key:"43c6e683bf6e0",_type:d,marks:[]}],_type:o,style:n,_key:"43c6e683bf6e",markDefs:[]}],title:"The Myths of Succulent Concrete",author:"Andrew Berardini",_rev:"1EUzDE81G10dN7zs0pqm1P"},{_id:"f16e4b52-f73b-424d-9816-94ba7cb2edf7",_type:q_,_rev:"dkrZ4uSKNgeMRGuxn0Tz5x",title:"Sarah Pichlkostner in Lieu",_createdAt:"2020-06-04T12:47:45Z",_updatedAt:"2020-06-04T12:49:50Z",slug:{current:"sarah-pichlkostner-in-lieu",_type:ai},artists:[gA],images:[{asset:{_ref:"image-887079c20d2c54beab3e6793a9a529b523e97bc2-1224x1632-jpg",_type:e}
1,metadata:{_type:i,palette:{_type:j,darkMuted:{_type:b,foreground:a,title:a,population:4.19,background:"#383d56"},muted:{background:"#877b72",_type:b,foreground:a,title:a,population:9.52},lightVibrant:{_type:b,foreground:c,title:c,population:rH,background:rI},darkVibrant:{population:aw,background:"#0b0f1d",_type:b,foreground:a,title:a},lightMuted:{population:8.71,background:"#cfbea9",_type:b,foreground:c,title:a},vibrant:{foreground:a,title:a,population:l,background:"#465fb8",_type:b},dominant:{title:c,population:rH,background:rI,_type:b,foreground:c}},hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAPABQDASIAAhEBAxEB\u002F8QAFwABAQEBAAAAAAAAAAAAAAAABwAFBv\u002FEACMQAAEEAgEDBQAAAAAAAAAAAAEAAgMEBREhBxIiBhNBcYH\u002FxAAVAQEBAAAAAAAAAAAAAAAAAAADAv\u002FEABoRAAICAwAAAAAAAAAAAAAAAAABAjIDESH\u002F2gAMAwEAAhEDEQA\u002FAN2p1sxUj+6xjZopAdeJBSLg\u002FV9PL0orNHb\u002FAHBw35H2gDEdOaBjabbpZnnycO7QSRhGxY+nFWpMEcEfAaEGRwVB4qTsJ7sgd8PapclBM8xA7H6pH0rSP\u002F\u002FZ",dimensions:{width:1224,aspectRatio:G,height:1632,_type:k},isOpaque:f},_type:g,_key:"97cfe3ceb5db"}]},{standfirst:[{_key:"b810c1b37ac9",markDefs:[],children:[{_type:d,marks:[p],text:rJ,_key:"b810c1b37ac90"},{_key:"b810c1b37ac91",_type:d,marks:[],text:"our guide repeats, allowing us to bathe in the figure for a moment. An age trophy, a kind of vision held for our wonderment as virtue-context in the programmeâs storytelling, she makes a beautifully wooden appearance not unlike one of Ozuâs players."}],_type:o,style:n}],body:[{markDefs:[],children:[{_type:d,marks:[p],text:rK,_key:"edff18bb72920"},{marks:[],text:"[âRadishes and Carrotsâ] was to have been the next film YasujirÅ Ozu would make, but Death intervened at the writing stage. ",_key:"edff18bb72921",_type:d},{_type:d,marks:[p],text:rK,_key:"edff18bb72922"},{_type:d,marks:[],text:"was also his affectionate sobriquet for the unpretentious troupe of jobbing actors he preferred to direct. In one of his more oracular statements, on the publicity campaign for ",_key:"edff18bb72923"},{text:"Sanma no Aji, ",_key:"edff18bb72924",_type:d,marks:[p]},{text:"he revealed âI always tell people that I donât make anything besides tofu, and that is because I am strictly a tofu dealerâ. Though a version of the film was made, even starring ChishÅ« RyÅ«, his draft lies incomplete and mysterious.",_key:"edff18bb72925",_type:d,marks:[]}],_type:o,style:n,_key:"edff18bb7292"},{_type:g,_key:"e807ad693486",asset:{_ref:"image-07753a528b1af999616b4e8b0328da6c19d07b3c-266x277-png",_type:e}},{_key:"cccaf21dab35",markDefs:[],children:[{_type:d,marks:[],text:"Through vegetables one can practically accede to eternity, you see. On TV, this Korean granny, in a village on Jeju where 80 is considered quite young and nary a meal is taken unfestooned with vegetables, is 117 years old. ",_key:"cccaf21dab350"},{_type:d,marks:[p],text:rJ,_key:"cccaf21dab351"},{_type:d,marks:[],text:"our guide repeats, allowing us to bathe in the figure for a moment. An age trophy, a kind of vision held for our wonderment as virtue-context in the programmeâs storytelling, she makes a beautifully wooden appearance not unlike one of Ozuâs players. Here and not here, almost timeless, a beacon for the nobility of a life lived in close communion with vegetables, and yet a (good-natured) harbinger of winter, the end. In an article reminiscing on his work with the master, ChishÅ« RyÅ« describes how, when his own efforts with the make-up kit proved inadequate, Ozu stepped in, and with a few deft strokes, conjured âa fine figure of an old man . . . I must confess that I felt as if I were only the paints or some other materials with which Mr. Ozu painted pictures.â",_key:"cccaf21dab352"}],_type:o,style:n},{_type:o,style:n,_key:"3fa258fa3f0c",markDefs:[],children:[{_type:d,marks:[],text:"So, as you may have heard, there are tears of things. A vale of tears courses through everything, you see. A universal shvitz, in fact. Thereis",_key:"3fa258fa3f0c0"},{marks:[p],text:"Mononoaware",_key:"3fa258fa3f0c1",_type:d},{_type:d,marks:[],text:"[richlyuntranslatable, perhaps âempathy towards ephemeraâ], and there is its elder cousin, Virgilâs âtears of thingsâ. ",_key:"3fa258fa3f0c2"},{_type:d,marks:[p],text:"Sunt lacrimae rerum, There are tears ofthings:",_key:"3fa258fa3f0c3"}]},{children:[{_key:"8cc3149763180",_type:d,marks:[],text:"This much chewed-on phrase prolongs savouring by its undetermined formâvast, resonant effect is tapped from âvague and ordinary words.â Its slipperiness prevents its scope being restricted by any particular interpretation, though many have had a stab. "},{_type:d,marks:[p],text:"Rerum ",_key:"8cc3149763181"},{marks:[],text:"has been taken as âthe worldâ, âaffairsâ, âfortuneâ, âlotâ, âcalamitiesâ, âsorrowsâ, not regular glosses of ",_key:"8cc3149763182",_type:d},{text:"res",_key:"8cc3149763183",_type:d,marks:[p]},{marks:[],text:", but unleashed by the context. Like a bur it sticks to those who read it. A vibrating chord of pathos, ringing still. Open and odd, these tears are real. Tears, you see, are universal, and the universe weeps a little for usâactually, tears are a âconstituent partâ of the universe. Am I yet another caught in the âfine websâ spun from this uber-gnomicism? You bet.",_key:"8cc3149763184",_type:d}],_type:o,style:n,_key:"8cc314976318",markDefs:[]},{children:[{_key:"6a3f306821500",_type:d,marks:[p],text:". . . (Aeneas) ate his heart out on the lifeless paintings . . . and wet his face with a free flow of tears"}],_type:o,style:n,_key:"6a3f30682150",markDefs:[]},{children:[{_key:"0cc8bfa8ceca0",_type:d,marks:[],text:"Might inanimate friends of the universe brim with feeling for man in his adversities? They do in the universe according to Ozu."}],_type:o,style:n,_key:"0cc8bfa8ceca",markDefs:[]},{children:[{_key:"e226c01623fa0",_type:d,marks:[],text:"âSympathetic sadnessâ shines full beam in establishing shots: a disordered alley, orange and white Yokohama factory chimneys, a pile of petrol drums. TORYâS bar. The celebrated vase in "},{marks:[p],text:"Late Spring. ",_key:"e226c01623fa1",_type:d},{text:"These objects will, in all likelihood, endure beyond the characters they offset. They may consent to play parrying shots of oblique allegory, like the gnarled sewer pipe that appears as a transitioning motif in ",_key:"e226c01623fa2",_type:d,marks:[]},{_key:"e226c01623fa3",_type:d,marks:[p],text:"A Hen in the Wind"},{text:". Offered repeatedly for our contemplation: ",_key:"e226c01623fa4",_type:d,marks:[]},{text:"what about this, can it be put any better? ",_key:"e226c01623fa5",_type:d,marks:[p]},{text:"Itâs hard to demur, but we âcannot, finally, say what it means.â Or much of the time they do no such thing, amplifying mood by bearing impassive witness, scenery rolling on regardless. Not altogether unlike the Godard maxim: âLife . . . fills the screen as a tap fills a bath which is simultaneously emptying at the same rate at the same timeâ. The films have the loping gait of life itself, aimless, circular. His technique is rarified through âunceasing pruningsâ, snipping towards this very instant, the self-sufficient, eternal now.",_key:"e226c01623fa6",_type:d,marks:[]}],_type:o,style:n,_key:"e226c01623fa",markDefs:[]},{_type:g,_key:"771f932a7b3f",asset:{_type:e,_ref:"image-95d184518c71544f2ce2c459bbf597cf4cf6840a-360x220-png"}},{children:[{marks:[],text:"Concluding dolly shots: the farmhouse glides off, we are roving across a breezy plain of rice. We pull anchor from a tight street corner, and are drifting off down an unknown stretch of sidewalk. We are left dangling, feeling a âpull towards infinity . . . the film (like life) could have gone on foreverâ. The wavy plain of rice, the empty endless pavement; two kinds of eternity, ungraspable, concealing their truth yet plainly stuffed to the gunnels with meaning. Of course, things are remote, of course, we can never grasp them, of course, things are silver paper in the wind, our very eagerness to snatch them the gust that propels them every further from reach, of course. So sad, so strange. Sad, strange, reeking, dribbling meanings, tender inanimates, new and intimate flavours.",_key:"ba454b7a854a0",_type:d}],_type:o,style:n,_key:"ba454b7a854a",markDefs:[]},{_type:o,style:n,_key:"8943d4fe74be",markDefs:[],children:[{marks:[],text:"ChishÅ« RyÅ« again, this time on Ozuâs recce-flâneuring: âHe was always ready to go location hunting and walked the narrow lanes and backstreets all day long in search of the places which w
1ould best fit his images. He was such a good walker and had such enthusiasm that the cameraman, who accompanied him, used to be tired out first.â David Hammons is a great walker too, and, coincidentally, a devotee of Japan. We find him in a vacant lot on a brown tartan sofa, in a resonant photo that could be a still from an oneiric music video. There is a mysterious sense of forward travel; Hammons, glancing upfromCarlosCastanedaâs",_key:"8943d4fe74be0",_type:d},{_type:d,marks:[p],text:"Tales ofPower",_key:"8943d4fe74be1"},{marks:[],text:",isapassenger,thesofavehicular.Alsoonthe sofa is a deposit of snow, nestling in a sagging section. This summons the unsurpassable images of his ",_key:"8943d4fe74be2",_type:d},{_key:"8943d4fe74be3",_type:d,marks:[p],text:"Bliz-aard Ball Sale"},{_type:d,marks:[],text:", snowballs arranged on a blanket in astreet-vending situation, in series of progressive melt and, evidently, diminishing size. The Great Outdoors commodified but untamed, implicated in the most eye-watering absurdity. It c
1anât be put better: âthere are tears in thingsâ, and what could be tearier than a snowball.",_key:"8943d4fe74be4"}]},{_key:"a96e1f1cde45",asset:{_type:e,_ref:"image-6385d1bbba5cadce8d1eac659b963cafe5b403df-429x291-png"},_type:g},{children:[{_key:"42ba741bee6a0",_type:d,marks:[],text:"Returning to the sense of motion in the sofa, it is fair to say this is accentuated by his presence, but such a quality is discernible, too, in many sofas marooned on the street. Naturally, soft furniture by the road assumes a cloak of metaphysicality, but this sense of rapid motion, frozen for a moment, is acute. You half-expect them to suddenly enter a state of accelerated deterioration, blossoming with abundant mould, softening and collapsing, as in the time-lapse sequences of nature documentaries. They also seem to teeter, precariously, in the flow of the street, underlining the spinning of the earth, that giant ball of more-or-less textured plasticine we all have our fingernails in."}],_type:o,style:n,_key:"42ba741bee6a",markDefs:[]},{_key:"507e2428e51b",markDefs:[],children:[{_key:"507e2428e51b0",_type:d,marks:[],text:"Or, serried in impromptu installations outside Classic Upholstery and seen from a distance, some way down the Caledonian Road, they cede some of their sofa-ness, presenting themselves as sheer chunks of form, as in the drawings of Phyllida Barlow."}],_type:o,style:n},{_key:"0175f7d00d49",markDefs:[],children:[{_type:d,marks:[],text:"Ultra vivid, announcing âIâm hereâ but as soon as our apprehending equipment whirrs into gear, âIâm goneâ. Glimpsed in passing, for a moment they disport themselves in wonderful formations, hinting at a parallel, shadow world of forms, finely, ineffably wrought, vessels with an endless capacity for nuance, endlessly finessable with an uncanny sureness of hand. Revealing something core for your benefit, flashing at us a pristine reality, but just for a second, before snapping back into the oblivion of the commonplace.",_key:"0175f7d00d490"}],_type:o,style:n},{children:[{_type:d,marks:[],text:"In a recent conversation with Seth Price on the occasion of his show at 356 Mission, Laura Owens remarked on the absolute âformal rightnessâ in the images of haphazard construction sites Price had included in his publication. I would make a similar claim for the litter native to London pavementsâimages, aphorisms, endless unique silhouettes and flattenings, more or less besmirched with grease and dirt, more or less torn or squashed, rain-pocked, sun-scorched, run-over, perused by foxes. Emissaries of various products, tumbled together in perfect arrangements, wreathed in tremendous arbitrariness, but with a superadded wildness. So sad, so strangeâlook at all these wretched amuses- bouche we dream up, confect, distribute, each with their own proud little uniform,probably with a distinct logo whittled away and fiddled at over the years. Lingering on the bare threshold of existence. Their infinite variety, fated to be discarded and trampled, ground into the pavement or silver paper on the wind. Time and again, I walk over packets of Mikado, images of their erstwhile contents presented like some kind of ceremonial staff, but merely chocolate covered sticks.",_key:"d96459853c100"}],_type:o,style:n,_key:"d96459853c10",markDefs:[]},{_key:"458061c4f48d",asset:{_ref:"image-c09e4ed2fddbba3db7c476f1492c1631898a80d2-422x316-png",_type:e},_type:g},{children:[{_type:d,marks:[],text:"Go to the food court of Kingâs Cross, that quivering swoop of balcony for eating while craning at departure boards, and survey the fallout of Wasabiâs popular hot pots slathered in deep, glutinous siena mild curry, scarfed down in minutes and leaving three or five-part containers beached more or less everywhere, when even those bearing their refuse with a dutiful, searching look realise that there is no public waste disposal. Abject tondos, more or less lavatorially stained, or soiled like a mud-spattered windscreen, or tortured with vortices of fork scraping, often splintered with remains of plastic utensils. Lids mottled with nothing worse than a little steam. In various states of disassembly, strewn across meagre tables, or somewhat consolidated, loosely stacked in a semblance of order within the thoroughly redundant carrier bag. Gathering around them, yes, a certain spaciousness, a little world. Poor little things, poor old us. Terrible, fearful, embarrassing, stunning. There are tears that are katsu.",_key:"d32b0a5bd4420"}],_type:o,style:n,_key:"d32b0a5bd442",markDefs:[]},{_key:"679608049aa5",markDefs:[],children:[{text:"Iâll tell you a story. It was the fifth birthday party of my classmate Alex. A touchy and slightly podgy boy, he nevertheless possessed a degree of street cred as he holidayed in the U.S. and might arrive at school with a backpack emblazoned not with Teenage Mutant Hero Turtles, but Teenage Mutant ",_key:"679608049aa50",_type:d,marks:[]},{_type:d,marks:[p],text:"Ninja ",_key:"679608049aa51"},{_type:d,marks:[],text:"Turtles instead. ",_key:"679608049aa52"},{marks:[p],text:"Ninja",_key:"679608049aa53",_type:d},{_key:"679608049aa54",_type:d,marks:[],text:", an alluring assembly of letters, seemingly stranger and more mysterious the longer you contemplated it, rendered in taut, white, leaning capitals on a fierce red banner. "},{_key:"679608049aa55",_type:d,marks:[p],text:"Hero"},{_key:"679608049aa56",_type:d,marks:[],text:", though, I discovered, was perhaps just as fine a word if you gave it a comparable long look. In any case,it was said Alexâs fifth birthday. The schedule comprised collection in car and stopping at a McDonaldâs before an anticipated subsequent entertainment that has slipped from the beating wings of memory."}],_type:o,style:n},{_key:"34491401dbd7",markDefs:[],children:[{marks:[],text:"I knew immediately that I would a request a chocolate milkshake and soon, washed in the glare of the restaurantâs indiscriminate lighting, I was sucking with all my might on the straw. At first, there was the odd, thwarted feeling of sucking hard on the plastic tube, a striped appendage that promised much, and nothing traveling up it, not even air. The lid was fogged, preventing any visual clues as to issues with the consistency of the shake. Eventually, after much huffing and puffing, I was able to summon small, pellet-sized portions into my mouth. Cold pellets, so unyieldingly cold they offered only the vaguest hint of how deliciously sweet the milkshake might be. It was tantalising. My efforts must have been pretty sustained, as suddenly it was time to be leaving. Alexâs mother advised that I could bring the milkshake with me. After all, the lionâs share was still safely housed within the enormous paper cup, rigidly sealed with a plastic lid. But. Somewhere in the process of standing up and departing the table, my grasp slipped on the cup, whose exterior was wrapped in a layer of condensation.",_key:"34491401dbd70",_type:d}],_type:o,style:n},{markDefs:[],children:[{text:"Before I had even registered that it had left my hand, there on the faux- terrazzo tiles was the most startling exclamation, a dumbfounding pastel brown scream.",_key:"5052
1007c795d0",_type:d,marks:[]}],_type:o,style:n,_key:"5052007c795d"},{_key:"a54af6fa157a",markDefs:[],children:[{marks:[],text:"Instantaneously, the previously resolute milkshake had evacuated the cup, covering an incredible area of the floor. Exposed on the gleaming beige tiles, the colour of the milkshake was surprisingly dull, unsaturated, not really matching up with my idea of âchocolateâ. Meanwhile the shape of the puddle was wobbly here, crazed and irregular there, something like the depiction of explosions and flashes of light in comics. Had I really caused this sheer, declamatory gesture? The drink was gone, I understood that, but how had I done this? Would there be consequences, a reprimand? Already a man with a paper hat, grey and burgundy Airtex shirt, dark grey trousers and a soft shadow on his upper lip was skirting the edge of the brown splash with a foam mop and a kind of plastic litter scoop. Alexâs mother was tinged with embarrassment, I was ushered away just as the scene was to be erased. I have never got over this astonishing vision.",_key:"a54af6fa157a0",_type:d}],_type:o,style:n}],title:"Feast of Burden",_createdAt:"2020-06-04T11:16:19Z",_id:"cf708681-9362-4d8e-988b-491b014c7536",slug:{_type:ai,current:"feast-of-burden"},author:aj,_updatedAt:"2020-06-04T11:17:55Z",_rev:"1EUzDE81G10dN7zs0ppxt1",_type:cu},{_updatedAt:rL,title:"In the Studio",_type:gl,_id:"c6326d1c-6594-4cd2-8ad2-c3d02d3080f4",slug:{current:"derek-fordjour-in-the-studio",_type:ai},artists:[aV],images:[{asset:{_ref:"image-bdc7afac50be9961018a89482ac527ddf79c21fc-4032x3024-jpg",_type:e},_type:g,_key:"4658955e6425",metadata:{hasAlpha:m,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAPABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAcBBQb\u002FxAAnEAABAwMCBAcAAAAAAAAAAAABAgMEAAUREiEGEyIxFDJBQlFhcf\u002FEABYBAQEBAAAAAAAAAAAAAAAAAAIDBP\u002FEABkRAAMBAQEAAAAAAAAAAAAAAAABAhIxA\u002F\u002FaAAwDAQACEQMRAD8A067lbDF1RWpOSvAyn2\u002FdRF4qQ0pUYaEFvdOfUfGKWsye8i8vyG3nOryoz0gflUOpSLm5L1q8Qruc7UPWU+ChtdHJJ4tktOlKi1nv2opL3C\u002FLMk819YWABsKKy5ovqT\u002F\u002F2Q==",dimensions:{aspectRatio:x,height:X,_type:k,width:V},isOpaque:f,_type:i,palette:{darkMuted:{background:"#4e382e",_type:b,foreground:a,title:a,population:ib},muted:{_type:b,foreground:a,title:a,population:2.42,background:"#a08261"},lightVibrant:{_type:b,foreground:c,title:c,population:l,background:"#ecc8ac"},darkVibrant:{title:a,population:aw,background:"#5d462a",_type:b,foreground:a},lightMuted:{title:a,population:rM,background:rN,_type:b,foreground:c},vibrant:{foreground:a,title:a,population:l,background:"#3c4c9c",_type:b},dominant:{background:rN,_type:b,foreground:c,title:a,population:rM},_type:j}}},{asset:{_ref:"image-6ccdbcf7144621b3ac92db61bff3ac3fa786bdd9-4032x3024-jpg",_type:e}
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He felt welcome there. \"Two small black boys who are unsupervised, at that time in history,\" he recalls, \"that wasn't always the case.\" St. Jude was also, importantly, adorned with art, and Fordjour sees the hospital as one of his earliest clues that art was a balm and a catalyst for better life. 30-plus years later, Fordjour has thanked the hospital for this lesson.","image-731a946971d13a7a7507e45b2e3cc5067f4212cd-1440x1609-jpg","#144770","#d5cbb6",.27,"#d5c3c3",.45,"#d22826",7.09,"#67432b","#672e50",5.45,"#cfc9c0","#ac5770","data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAWABQDASIAAhEBAxEB\u002F8QAFwABAQEBAAAAAAAAAAAAAAAAAAUCA\u002F\u002FEACUQAAICAQMEAQUAAAAAAAAAAAECAAMRBCExBRITIkEyUWFxgf\u002FEABcBAAMBAAAAAAAAAAAAAAAAAAEDBAL\u002FxAAgEQADAAECBwAAAAAAAAAAAAAAAQIRAxIhIzFhcaHh\u002F9oADAMBAAIRAxEAPwDo+o7esWKGHjJywY4wfuIFjLTV48Me1hg8bmTdZq0uK+E1HNoBPyfzM2dQRdH41atnB2U888RGy4lqPZTyqcOn5+FLqdrrqQF7QAgHMSfqWFjqQCfUcGI+aeCd7U+FIjWUIba798A+wBx+sTvqKFArtrHa\u002FwBX8+YiDU1KTJZhYT7mrNaqNup332MRECpmXE56H\u002F\u002FZ","Derek Fordjour, ","Rhythm & Blues","SELF MUST DIE",6.26,"#cb5c3a",3.97,.24999999999999997,.39215686274509803,9.13,"#abbbc9",.14285714285714282,.3431372549019608,"#4b4b64","2020-08-05T13:21:20Z","YUQGGdnqgBHYCAoLaTDenk","8c98545d-7e4e-4d99-be42-b341cb5fcf0d",2850,"2020-08-05T17:37:15Z","#ff641e",3800,"#51949d","#a9bfcf",1.71,10.97,"gareth-cadwallader","#e2e674","#352f2c",4.32,"#62531e","#d1a5c5","#3d374b","#cfc7b8","#cbae16","#344049","data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAMBAgX\u002FxAAgEAACAwACAQUAAAAAAAAAAAABAgADERIhBCIyQXGB\u002F8QAFgEBAQEAAAAAAAAAAAAAAAAAAwEC\u002F8QAGxEBAAICAwAAAAAAAAAAAAAAAQACERMiMVH\u002F2gAMAwEAAhEDEQA\u002FAMWu1lQGy3eu8WVa99HCz0\u002FUUWDkrwUfPUTVQHsC7gJyCWcdxGicmOexuXb7CQPDAHv38hJtr7MI5n\u002F\u002F2Q==",1951,1.5376729882111737,"image-bd7911b9fc2356440878680244d3f3d3a3f14783-3000x1951-jpg","#c1914c",1.12,"TRUE LIFE is a hybrid monograph, artist's book and love letter detailing American artist Alex Da Corte's sustained relationship with the musician and celebrity known as Eminem. 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