Lisson Gallery Review
9th March
A month before the end of the exhibition, I came to Lisson Gallery to view ‘Portals at Situated on Marylebone’s Lisson Grove, the Gallery gave view to a selection of artworks, curated by Ossian Ward.
On entry I was met with a set of stewards. Looking at Shirazeh Houshiary’s (1993) installation, Turning Around the Centre The geometric structures are horizontally parallel, appearing as large boxes imported into the space. Its exterior, perceived as a container is lined with lead. The interior showed hollow sections cut at different levels of depth. It shows an undulating wave line along the surface. Along the edges of the hollow squares, we see the glint of gold leaf.
Featured amongst was Cory Arcangel whose piece. Light Pink with Turqiouse Blue is an image crafted with acrylic paint on canvas. With an inspiring rose centre, it is a square within a square. We are drawn within the box per se as it takes us beneath the flat surface to create an inception of thought. The blue tone is emotive and deepens the canvas, the thick and large line creates a distinct edge around the square.
Another draws on technology with an installation by artist Ryan Gander. His piece incorporates virtual space with traditional forms; presenting character through digital device and coded information. The viewer mirrors the screen, looking at phrases recorded from the input of an AI. The transcript reads as a flow of consciousness. The ones and zeros fill the screen. The intentionality of this virtual presentation is a key point- revealing a perspective of one who structures the codes and of a computer that generates messages on display. The devised area comes with space for reflection. There is a pleasant feature with lush deliciosa plants and the visual brightness from the surface reflection of the mirror.
What took my attention on entering the inner sanctum, was Canvas event by John Latham is hung as a portrait. A roped cut of canvas unravels outwards from the centre. The seams are spread over the corners of a wooden stretcher, revealing the fabric puckering. The tightly woven thread in the acrylic still gives. The edges of the seams are frayed and stained with red colour. Flecks of red acrylic appear on the bottom left corner. Another seam is spread on the upper right corner. Markings of cream red show at the corners, while the twist of the centre is marked with a crimson red.
Anish Kapoor’s Oriental Blue is a bold and bright cast which fills with the eye with its rotund structure. A multidisplinary artist, he features this concave basin made of solid aluminium. With a soft misting of grey, the satin metallic tone has a hazy brushed appearance of nebulus clouds. Varying tones are brushed over in layers, bringing deep and light shades of blue. The spray of blue creates a marbling effect on the satin surface. The raised rim refracts the light, casting shadows from the top. Approaching the centre of the organic shape, a glow of light streams across
Bring the eyes upward, a horizontal ray of light pulsates around the blue. Beneath the line of vision, there is a noticeable sheen from the curve entering the iris. The light lifts off of the deep set blue, bringing a sense that the basin is levitating. The crescent shadow at encircles the base. The protruding rim balances a glow. The curving angle rose.
The refracted light of the art shows shadows though wrapping around
As a portal it comes forward as though it is to embrace the viewer inwards and upwards.