AboutDuring Civil Twilight it is possible to clearly see without the aid of artificial light the objects around you and the brightest stars in the night sky. The clearest time of the day, also thought of as
the calmest, resonates with the âwhite walled' art gallery setting allowing a lucid viewing of the work.
The desire to paint differentiates âpainters' from âartists' because the material, paint, is so specific and yet contains so many possibilities. The landscape of contemporary painting is a richly diverse field: anything is possible here, there is no prescribed aesthetic. Painters furrow their own paths, following individual concerns of style, process, form and content.
These six artists employ varied means of picture-making; Cope disguises multiple painting games amidst an often slacker aesthetic, using imagery derived from personal symbolism; Dyke literally deconstructs his old paintings in order to create new ones, combining gesture and formalism in his cut-ups; Knight's works evolve slowly, painting delicate marks and multiple layers creating images that seem to glow from their gessoed panels; Lamb describes his process as chasing his tail, constantly developing the ground of the next painting as a by-product of making the current one, incorporating painterly build-up and wearing away; Macdonald's paintings suggest slight light in dark space, architectural planes that we recognise but can't quite place, speaking of urban masses; Moran's large hexagonal canvases are woven with stars and lushly painted monochrome portraits, subtly painted lines and planes of colour, suggesting the âpainter at large', striking through figurative with abstract.
Some of these differences may appear in a strikingly obvious way, but this is not a âsee what you can do with paint' type of presentation. The artists in this exhibition eschew fashion in contemporary painting to present us with honest and personal objects of contemplation.