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Showing posts with label soulages. Show all posts
Showing posts with label soulages. Show all posts

Tuesday, 1 November 2022

Artlyst: Soulages And Strange Clay November 2022 Art Diary

My November diary for Artlyst has mention of 'Sarum Lights - Renaissance' at Salisbury Cathedral, 'Gaia' at Southwark Cathedral and Chelmsford Cathedral, Marta Jakobovits at Elizabeth Xi Bauer Gallery, Sandra Bowden at Gordon College, Lakwena Maciver at Yorkshire Sculpture Park and windows by Pierre Soulages at Conques abbey-church:

‘Under an image of Richard Woods’ ‘Small House’ installation at Southwark Cathedral, Fergus Butler Gaillie, in a recent article for The Spectator, criticised Cathedral art exhibitions as gimmicks bringing the temporary stimuli of consumerism into “places dedicated to the majesty of the eternal.”

His concern was that such temporary exhibitions disrupt spaces built for solemn reflection with their heightened engagements and the number of people they attract. On one level, his piece seems to be a plea for greater space and stillness in already cavernous spaces, while, on another, it seems to be predicated on an unhelpful and unnecessary sacred-secular divide. Fundamentally, it claims that much modern stimuli are antithetical to solemn reflection or reflection per se. Recent and current Cathedral exhibitions, including Luke Jerram’s Gaia installations at Chelmsford and Southwark Cathedral’s and Luxmuralis’ Sarum Lights – Renaissance light and sound spectacular at Salisbury Cathedral, would seem to call Butler Gaillie’s contentions into question.'

See also my Artlyst interview with Lakwena, my Visual Meditation for ArtWay on Lakwena's work, and my Church Times review of her Jump paintings. See also my review of Richard Woods' 'Small House'. Reviews of other exhibitions at Salisbury Cathedral can be found here.

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -
Articles/Reviews -

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 The Revolutionary Army of the Infant Jesus - Song of the Soul.

Posted by Jonathan Evens at 18:08 0 comments
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Sunday, 4 July 2021

Artlyst: Marie Raymond And Post-War Avant Garde Painting In Paris

My latest article for Artlyst explores aspects of the spirituality of Marie Raymond and Yves Klein in the context of the exhibition At the heart of abstraction: Marie Raymond and her friends at the Musée des beaux-arts at Le Mans:

'‘It seems obvious,’ writes Robert Fleck in Marie Raymond/Yves Klein, ‘that we will not understand the extent of Yves Klein’s adventure and his extraordinary explosive energy if we are not also interested in the painting of Marie Raymond, his mother.’

This is for two main reasons. The first is Marie Raymond’s position and connections within the art world of her day; the focus of the current exhibition at Musée de Tessé, Le Mans, At the heart of abstraction: Marie Raymond and her friends. The second is their shared interest in Rosicrucianism set within the context of Roman Catholic faith.

A renowned artist and a prominent figure in the Paris art scene, Raymond was a leading female exponent of Abstraction Lyrique, a new vein of abstract painting, along with Vieira da Silva. She showed alongside Pierre Soulages, Hans Hartung, and Serge Poliakoff and was friends with Nicolas de Staël. Her work was exhibited at the Galerie Colette Allendy in 1949 alongside Jean Deyrolle, Émile Gilioli, Soulages and Hartung. At the heart of abstraction: Marie Raymond and her friends examines her work alongside the works of her artist friends, who shared the same innovative vision of abstract painting.’ 

For more on Yves Klein see my sermon entitled 'Together for the Common Good'.

My other pieces for Artlyst are:

Interviews -
Articles -

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Sunday, 4 April 2021

Artlyst - Sean Scully: Philosophical Poetic Pastoral, The 12 / Dark Windows

My latest article for Artlyst is a preview of Sean Scully: The 12 / Dark Windows in New York from 6 May:

"By placing a black square over Landline bands of colour, Scully brings both approaches to spirituality together; an integration of affirmation and negativity, the cataphatic and the apophatic... "Tragedy is part of spirituality,” he commented, standing next to Doric Nyx ... ‘I am not drawn to tragedy: I believe that it is always possible to overcome it and that in the end, a ray of light will shine through.’

The Dark Windows are a further meditation on tragedy. Scully says: ‘There is no doubt that they are a response to the pandemic and to what mankind has been doing to nature. What really strikes me as tragic is that what is a relief for nature is a torment for us. And what is a pleasure for us is a torment for nature. That seems to be the conundrum that we’ve got ourselves into.’ This new body of work serves as a reappraisal or a reckoning – not simply suggesting that while the dark clouds hover and we remain in darkness, the blight will soon be over, and the world will heal itself – rather the realisation that a ray of light will always shine through the darkness or, perhaps, as was the practice of Pierre Soulages, that light will be reflected from the black."

My other pieces for Artlyst are:

Interviews -
Articles -
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Taylor Swift - Epiphany.
Posted by Jonathan Evens at 18:29 0 comments
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