MONOCHROME

About

Hen Coleman’s charcoal drawings depict altered territories informed by landscape in which the protagonist’s role is carried by recurring motifs of vessels as containers and layered natural forms in transformed states. ‘The contrast between a terrain of ‘chaotic and abundant nature’ and the more measured environment of our ideas and behaviour presents itself as a dialectic, a third territory, not necessarily geographical or historical but an unfolding space or stage for playing out memories, responses and reactions.’

In the series of charcoal drawings, each stroke, circle or line is endlessly repeated, but with a variety of intensities. The surface becomes elaborate and intricate, with contrasting blacks and greys, sumptuous and rich.

Toni Davey’s white works are concerned with conveying the illusion of three dimensions onto a two dimensional surface. Her elegant cut outs aim to understand this transition through very controlled drawing or by physically reinventing the surface. In the work the underlying structure of the grid is always present. The grid offers the means to retrace one's footsteps and understand the journey, and to allow forms to follow a rule or sequence of changes. All the cut pieces are made from a single sheet of paper with nothing added or taken away.

'To draw, to cut, to score, to fold, two dimensions into three; manipulating light and shadow the surface evolves'.

Rachel Shaw Ashton hand cuts figures and forms from watercolour paper that is spray-painted. White, black or grey on white, each separate piece of meticulously cut paper is grouped together to form a stunning three-dimensional piece.  Shadows between and behind each paper form create a dramatic tension.  Despite the intensely laborious process of cutting each shape by hand, Rachel’s works have a fluid energy.  Some works are calm; others are frenzied as the separate cuttings sweep up into one greater scenario.  In some works, Rachel conveys a sense of realisation through the stirring of movement and in others a feeling of things being static and resigned.

“I like to show figures in unusual poses caught in a split second of time. For example bodies flying or jumping representing freedom of spirit, joy or fearlessness and in contrast, I also like static figures that hopefully convey clarity, calmness, a coming to terms – whatever they invoke in the viewer.

Lucas Ferreira ‘s works are made from small hand crafted fragments of ceramic. Small flat rectangles are joined together to form a circle. Each fragment, the same size and shape, one next to the other, almost sewn together, accumulated to form sequences, rhythms, which are then altered by the inclusion of black pieces.

Repetition, sequence, order and interruption convey the method by which the fragments are meticulously arranged creating geometric and abstract shapes. Some of the works appear at the same time in a series, where the alteration of the black pieces marks different spaces and rhythm in the compositions. The work is subtle, intriguing. Only a closer look will offer the viewer a rendition of what it is about. “My work is inspired by geological formations. I enjoy crafting minimalist textured studies inspired by how rocky surfaces are reshaped over time.” 

Once again, photographer Stuart Redler presents a wonderful collection of black and white works. Suggestive, with details and close ups, through his unique perspective, Stuart brings a different view. Almost like abstract works, these renderings of necklaces, shells and objects attract and engage the viewer. Each detail acquires a new scale, a new life, and intricate and laborious shapes and forms emerge. Each object or shell becomes almost sculptural or architectural, like a maze or an organic building.

Compositionally bold and varied, Stuart’s compositions stand out for their elegant aesthetic, unusual perspectives and exquisite detail, accentuated by the use of sharp contrast and strong deep shadows.  From striking geometric architectural structures to tumultuous landscapes, engaging portraiture and witty still lives, Stuart approaches his subjects with perceptiveness and alacrity.