joseph scissorhands: May 2021

Victor Pasmore - Untitled, 1993

Yet another exhibition of abstract art in a few that I have encountered in my rounds of the galleries of late. This most recent though was by one of Britain's pioneers of modernism in art - Victor Pasmore. They are lovely exercises in colour, line and form, in which Pasmore creates his own highly personal, ideosyncratic visual language, as distinctive and instantly recognisable as that of Miro, or Picasso. The exhibition includes examples of Pasmore's painted constructions which I wasn't familiar with but really enjoyed. The addition of sculptural wooden shapes to the two dimensional painted picture plane made for a particularly dynamic fusion. I noticed that Pasmore worked with a very limited colour palette in the works featured here. Greens, blues and browns featured prominently, punctuated by black hieroglyph-style linear squiggles in his abstract paintings. What a shock it was to go into the back room of the upstairs galleries and to encounter Pasmore's representational figurative paintings from the early part of his career. They were a total contrast and real revelation. I thought they were so tender. The paint is so delicately, skillfully, and sensitively handled, especially in the portrait of his wife combing her hair. Further research is required on my behalf to understand more about Pasmore's processes, and why he chose to enact such a radical change in his way of working.

Installation View

Linear Composition , 1962-65

Abstract in White, Black and Maroon, 1962

Points of Contact, Green Development, 1966

Green Development in Two Movements, 1989

Square Image, 1971

Voice of the Ocean, 1989

Black Rhythm, 1976-77

Brown Symphony, 1979

The Milky Way, 1987

The Milky Way, 1987 (details)

Blue Development, 1965

Abstract in White, Black, Brown and Ochre, 1950

Untitled, c.1996

Untitled, 1996

Portrait Sketch: Florence Head, 1935

Girl with a Hand Mirror, 1938

Girl Combing Her Hair (The Artist's Wife) c.1940

Lily, 1941

Victor Pasmore: Line & Space

until 4th June

Marlborough

6 Albemarle Street

London

I had walked past 14 Cavendish Square and it's twin counterpart on numerous occasions when living in Westminster. Number 14 is one of four mansions in the square built by Sir George Foster Tufnell in 1770. It is a Grade II listed building in the Palladian style with a magnificent façade clad in Portland stone boasting a grand order of Corinthian pilasters beneath a matching pediment facing directly onto the square. I was always struck by Jacob Epstein's large, 1950s Madonna and Child statue installed on a bridge linking the two buildings. It looms out at you, appearing to "levitate" above the mews entrance. Epstein's sculpture is created from three tons of the lead of the roof of number 14 when the property sustained bomb damage in World War II. I recently took the opportunity to visit and explore the interior of number 14 with this current joint venture by Stephen Friedman Gallery and The London House of Modernity. The collaboration brings together the world of contemporary art and classic midcentury Nordic design in this impressive Georgian mansion. Mid-century furniture, design and textiles has been the stimulus for elements of my newer work (here, and here), so I was determined to experience these industrial design classics first-hand. Despite the graceful proportions of the large rooms, the interior of the building is now a mere shadow of its grand, former self, denuded of the majority of its original features, and now in a state of near dereliction. The building is most definately in estate agents parlance "a fixer-upper". The bare bones of the property in this state of disrepair however provides a stark contrast and ideal backdrop in which to view the modern art and design currently installed. It felt like a real privilege to be afforded this rare chance to walk through these rooms, to try to envision in my minds eye the lives lived of those occupants who had previously inhabited this building. The births, marriages and deaths encapsulated within the fabric of this space. The disparities of wealth between the well-to-do owners against those who served them, the differences in lives lived above and below stairs. I wondered about the activities and occasions these walls bore witness to, formal entertaining, perhaps balls and dances, as well as the more mundane, but necessary chores which form a part of everyday life. Yinka Shonibare's figures installed here helped with these musings, as they stand on the sidelines sporting period costume, attendant, waiting quietly in the corners of the rooms. Number 14 sadly, is currently being touted for development as offices. Exhibitions in empty, near-derelict important buildings are always exciting, providing a chance to finally gain entry to classic architecure usually inaccessible to the public. Previous examples of similar ventures were experienced on visits to a Burberry fashion installation at the Old Sessions House, Clerkenwell, here, and Lisbon's Design Museum housed in the stripped innards of an old bank, here. In all cases the basic, austere, interiors of the buildings proved to be as fascinating as the art, design and fashion temporarily displayed inside them.

Jacob Epstein - Madonna and Child, 1950-52

Arne Jacobsen - Egg Chair for Fritz Hansen, 1958

Jim Hodges - Untitled (Landscape V), 2000-2001

Josef Frank - Flora cabinet on stand for Svenskt Tenn, 1937

Marina Adams - Three Witches of the Night, 2020, Stardust, 2020 paintings

Björn Trägårdh - Easy chairs model 151 for Svenskt Tenn, 1930s, Bruno Mathsson - System shelving #42, 1952,

Yinka Shonibare CBE - Wounded Amazon (after Sosikles), 2019

Yinka Shonibare CBE - Wounded Amazon (after Sosikles), 2019, (detail)

Börge Mogensen - Sleigh chair and footstool, 1953

Luiz Zerbini

Yinka Shonibare CBE

Hans Wegner - Chairs for Johannes Hansen, 1960s

Ilona Keserü -June Variation series, 1976

Finn Juhl - Chieftan armchair for Niels Vodder, 1949, TH Valentiner - Floor Lamp for Poul Dinesen, 1960s

Artwork - Ilona Keserü - Saturated Accord, 1976, Börge Mogensen - Library table for Erhard Rasmussen,1954, Lisa Johansson-Pape - Table Lamps for Orno, 1940s

Börge Mogensen - Library table for Erhard Rasmussen,1954, Lisa Johansson-Pape - Table Lamps for Orno, 1940s

Kendell Geers - Age of Iron CV, 2012

Wayne Gonzales - Woman in the Garden, 2016

Andreas Eriksson - Content is a Glimpse #36, 2014

Ole Wanscher - Colonial sofa and armchairs, PJ 149 for P. Jeppeson, 1949/60s

Mamma Andersson - The Weakening Eye of Day, 2017

Ole Wanscher - Colonial armchair, PJ 149 for P. Jeppeson, 1949

Surviving original cornicing

Ole Christensen - Rain, ceramic sculpture, 1950s

Mamma Andersson prints, Josef Frank - Sideboard for Svenskt Tenn, 1950s

Finn Juhl - Sofa for Niels Vodder, 1943

Ged Quinn - Eleven Breaks of Blind, 2017

The view onto Cavendish Square from the first floor

Uno Ullberg - Dining set for Hangö Ångsåg & Ångsnickeri AB, 1905

Yinka Shonibare CBE - Un Ballo In Maschera (Courtiers II), 2004

Uno Ullberg - Cabinet for Hangö Ångsåg & Ångsnickeri AB, 1905, Chair in the style of Jean Royère, French, 1940s, Axel Enoch Boman - Table Lamp for Orrefors, 1915

Ged Quinn - Today is Our Meatless Day, 2013

Yinka Shonibare CBE - Un Ballo In Maschera (Courtiers II), 2004

Ged Quinn - Your Most Urgent Prayer, 2012

Mirror artwork -Jim Hodges - Untitled (Split), 1997, Uno Ullberg - Cabinet for Hangö Ångsåg & Ångsnickeri AB, 1905, Chairs in the style of Jean Royère, French, 1940s