Visual Art
l.ll.1ll\JSl/\ll/\ll()l\l Pieces of the Dialectical Terror MEIRO KOIZUMI
Machine (2 parts) by Nick Evans Mary Mary, Glasgow, Fri 16 Dec
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buy, own (‘Models X, Y, Z’, 2005). In the corner of the ‘1.‘:'f;.’l .'l,."1‘l.,‘:’.i;:§ {Hm lll‘...’(ll;lf1 i. "l. ii it Ni ii? wall that faces them knotted forms reach out and drip Nuxt, a" (July! .l.l;,.llu;:;l:- "X'in minim; (l N'CK EVANS ' SOME NEWER upwards into the gallery (‘Untitled — 2 Parts‘, 2005). The .::\t ::l li':; lit-slum; will (EiEliii::‘.(:.l FORMAUSMS . ceramics reject representation, yet stand in almost (ll:ll\fi("ll(;i(,‘f3, llmi, till;- lllll'tlm’txl Sorcha Dallas Gallery. Glasgow, untll Sat 21 Jan d f. t d . th . t d th t th m“: WWW .(E my“ (1 (I, M} Em, WU,“ ..... e lan poses, arlng e Viewer 0 re uce em 0 e . ,. . figurative. Colour loosely describes but drips from the m:- to -;::i<l;l2:;:;!, rl2j,o_,-.lt. litt; maxim!»
Formalism and its ‘neo‘ incarnation are the stuff of art forms; surface and painterly gesture vie for dominance. <‘i /\l(:x;l"<l(:r Pam )Iilt‘if l‘lm: lmm critics’ wet nightmares — you are forced to ‘out‘ In the gallery extension next door, the theatricality of wt '..".-,:i' .15.: (‘itgleiulyjta umE mt; li‘. u ._; yourself as either for or against work that critiques the minimalism is examined in 'Pieces of the Dialectical Mia/<2 <:;,;:r lo “lit; lzl‘§t‘ mllrlgl‘, self-referentiality of art (taking itself as subject matter), terror Machine‘, 2005 (pictured) — plinths are opened {lllillfuihlti mink. Amt} Mano ‘.'.’.ll:,;;.~v rather than employing supposedly socially engaged out into rusting frames and two boulders of sculpture source material or literary devices and references lay in repose on the structures. Darker colours add (pseudo narratives, dumb characters, etc). Nick Evans‘ superficial weight to the unwieldy but satisfying forms. Some Newer Formalisms demonstrates that form is There are very clear art historical reference points — just sedimented content, that there’s nothing to fear Frank Stella's painted constructions from the mid-80$ except easy irony and stillborn intellectualising. and early Henry Moore sculptures, for example, but
The work shown is based on contradictions and Evans' aesthetic reaches beyond the frustrated tensions, exploring and playing with binaries: the limitations that both artists set. The work moves away minimal and the maximal, the domestic and the public, from the figurative totally, and the restrictions of the modest and the theatrical, heavy and light. minimalist ‘faktura’ (truth to materials). So, something Polystyrene becomes like stone and a lump of clay resembling expression emerges — but expression as becomes filigree. In the main gallery space, brightly nothing other than the working of a material, the coloured pinched clay forms rest on plinths at eye level, examination of its limits. (Alexander Kennedy)
Untitled (Glitter Island) TAmsows amnus by Beagles and Ramsay
The Changing Room, Stirling, until Fri 16 Dec 0..
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' THE LIST 109