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Showing posts with label camden arts centre. Show all posts
Showing posts with label camden arts centre. Show all posts

Friday, 17 May 2024

Seen and Unseen - Matthew Krishanu: painting childhood

My latest interview for Seen & Unseen is with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre:

'He thinks that this show has “set up a kind of a world philosophy” for him: “The core, the heart of the show, for me, is family, particularly of my late wife and my daughter. In and amongst the drawings, there are some pictures of our baby, and my late wife holding our baby or, indeed, holding the tree that my daughter is climbing. For me, that is where my faith is, in love, in the love of family, in all that a baby calls upon us to give it. That is the closest thing to divinity.'

See also my exhibition review for Church Times, plus my latest Art Diary for Artlyst for more on this exhibition and my review of Everyday Heroes for more on Matthew Krishanu.

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

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The Byrds - Turn! Turn! Turn! (To Everything There Is A Season).

Friday, 10 May 2024

Church Times - Art review: Matthew Krishanu: The Bough Breaks (Camden Arts Centre)

My latest exhibition review for Church Times is on The Bough Breaks: Matthew Krishanu at Camden Art Centre:

'Krishanu shows us the world from the perspective of a child and asks us to pay attention as the child does. Accordingly, we see the vastness of the world around us, whether its foreground expanses or the complex climbing frame of banyan trees or the immense depth of pools, rivers, and oceans. In the adult world of human beings, we are often at the back of crowds looking through beings like trees in a forest, or looking up because we cannot look through.'

See also my latest Art Diary for Artlyst for more on this exhibition and my review of Everyday Heroes for more on Matthew Krishanu.

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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The Innocence Mission - Beginning The World.

Monday, 11 May 2020

Artlyst - Botanical Mind Online: Art, Mysticism and the Cosmic Tree

My latest article for Artlyst explores the spirituality of Botanical Mind Online, a project from the Camden Arts Centre:

'In a recent article for Artnet, Eleanor Heartney argued that ‘spirituality is at the heart of the established canon and that mystical and occult ideas run through the works of artists as diverse as Kandinsky, Malevich, Mondrian, Beckman, Miró, Dove, and Klee.’ She then noted a ‘new receptivity to spirituality’ that reflects our current state of upheaval including a ‘widespread recognition that materialism has produced a climate crisis that may spell the end of life as we know it.’ As at the turn of the last century, ‘a search for alternatives has manifested itself in a surge of interest in spiritual and spiritualist concerns.’ The Botanical Mind sits neatly alongside Heartney’s article by surveying similar ideas and artists while drawing attention to contemporary artists linking spirituality to the environment and the climate emergency.'

My other Artlyst pieces are:

Interviews:
Articles:
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Stevie Wonder - The Secret Life Of Plants

Thursday, 29 March 2018

Getting to know the unknown

My latest exhibition review for Church Times is of Giorgio Griffa: A Continuous Becoming at Camden Arts Centre:

'Minimalist unfinished marks on parts of unframed canvases hung from tacks on white walls; this is the “poor art” of Giorgio Griffa, which is rich in meaning and beauty ...

His are the colours of the Mediterranean; light, airy, precise, pastel. Marks that give the appearance of doodles are, as his sketchbooks demonstrate, meticulously planned and executed. The rhythms and harmonies of his mark-making in space fashion the dynam­ism of his diagonals, curves, and rectangles.

The marks on his unfolded pinned canvases never extend across the whole — a decision that signs the unfinished nature of our under­standing and comprehension.'

I've also written about Griffa's use of the Golden Ratio in a feature article published by Artlyst.

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Mark Heard - Strong Hand Of Love.

Sunday, 4 March 2018

Artlyst - Giorgio Griffa: The Golden Ratio And Inexplicable knowledge

My latest article for Artlyst highlights the first solo exhibition in the United Kingdom of Giorgio Griffa, an Italian abstract painter who has been closely linked to the Arte Povera movement. The exhibition at Camden Arts Centre provides a rare opportunity to discover the breadth of the artist’s practice, incorporating works from the 1960s through to today. 

The work of Griffa revives awareness of the Golden Ratio in contemporary art and, therefore, could also revive awareness of the part that the Golden Ratio has played within artistic searches for an objective, scientific approach to modern art.

My other Artlyst articles are:
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Low - So Blue.