Exhibition

Prosthetics: Painting and Photography - Rob Sherwood

30 Apr 2010 – 16 May 2010

Event times

Thursday - Sunday 12:00 to 6:00pm Or by appointment

Cost of entry

Free

Son Gallery

London, United Kingdom

Address

Travel Information

  • Buses to and Fro
  • Trains from London Bridge or Victoria ever 15/30 minutes

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Prosthetics: Painting and Photography - Rob Sherwood

About

Son Gallery presents the work of painter Rob Sherwood seen for the first time in the wider context of his photographic, digital, and moving image making. ‘Prosthetics' explores the relationship between these diverse media and their respective identifications with our notions of the natural and the artificial: it is in the evolving synapses between these poles that Sherwood's multi-faceted practice stakes its claim. Traditionally artistic subjectivity has been divorced from the use of stand-ins and devices or strategies based around replication, copying and simulacra: the latter often associated with a cold conceptualism. Sherwood's work, conversely, inscribes the one in the other, his organic sensiblility as a painter informing the way in which he interacts with a technologically expanded cultural field. As such Sherwood resembles a new strain of ‘post-expressivist' artist, one who none the less deals with the problems of expression and representation in the 21st Century. Sherwood's practice is informed by a critical interest in the way evolving technologies affect ways of seeing. Using his training as a painter Sherwood makes use of both photography and film, exploring how lens based medias, with their capacity to deconstruct visual fields, interact with the tangibility of traditional painting techniques Whereas digital art has tended to obsess with the expanded facility of networked cultures, Sherwood's work reflects on digital facility itself. This, accordingly, is art about finding a depth of perception, literally and metaphorically, in a flat-screened world. Rather than being content with seeing society through its effulgence of pop images and simulacra. Sherwood is highly aware of the material value and quality of his paints, brushes and canvases. This craftsmen's awareness, combined with his use of traditional and at times archaic techniques, provides a stimulating contrast to the artificial inspirations for his paintings. Using the historical avant-garde's old bastion of autonomy, the grid, and sensitively engaging with painting, film and photography, Sherwood offers us an assemblage of the self-expressive alongside social documentary.

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