www.list.co.uk/visualan
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LIVE UNDEAD Transmission Gallery. Glasgow, until Sat 23 Feb 0000
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REVIEW sr M Plum
_ With segments of wood sliced into pieces. separately géAmétkdgeng'sfggAh/IlgfiI.I;ETTERs painted and pieced back together (‘4+4‘ and ‘Annalisa'),
this sense that hard and functional ingredients can be
Despite receiving her education at Glasgow School of softened by swathing them in bright colours is Art, this is the first major solo exhibition in the UK by accentuated. That each piece here is also devised as an Norwegian sculptor Camilla Low. With this in mind it‘s interesting kind of visual puzle simply adds to the fortunate that a venue the size of the DCA is hosting it, entertainment value of viewing them. Among some of because her boldly-coloured sculptures work perfectly the more striking examples of this technique are in this open space, with the gallery’s sun blinds open to ‘Ramona‘, a series of black-painted metal squares hung allow extensive natural light into the room. from floor to ceiling and linked at their corners by
The colour, shape and the precise fabrication of Low’s plastic hooks, and ‘Sister‘, 3 series of caramel-coloured works are integral to their finished effect, which allows perspex triangles with one end of a metal bar threaded for both formal consideration and aesthetic through their centre. Each of these is balanced in state appreciation. Low's chosen base materials are with a lightness which belies their physical properties. concrete, wood and metal, the former hewn into Yet, it’s the least obtrusive work which most identically-sized squares of a few inches each in the succinctly illustrates the purpose of the show. ‘White onsite workshops. These are piled four or five high, and Steel’, 3 square sheet of metal painted the same white selected surfaces are painted yellow or black, as the wall behind it, reveals this to be an exercise in obscuring our view of the material involved. From a camouflaging the very physical nature of objects using distance these oversized Rubik’s Cube segments might formal trickery of colour, light and balance, and a very be flimsy, fragile plastic. successful one at that. (David Pollock)
WNW/WW PHINllNC}. PAINIINI ‘2 AM TI N25; LOTTE GERTZ Mary Mary, Glasgow, until Sat 1 Mar
Narrative of sorts emerges thruiiaili the iriarxr,;.i;rtv " ‘ 2"Y‘t1i ' elements in the printed. painted. 'lia.'.ri gt"-l _: ;~h- l k; «t / Lotte Gertx, In this. her first exhclr'tmn a'. Mar. Mir ., "w,- _‘ Swedisliborh artist (I()llill‘:ll(‘f; hw plat. ruin? giati r intr: tire \ . manipulation of elements specifir; ti. f‘er "‘ ,vw "Mm. .riioaw'x; \ suggestive subieet matter {L‘l‘Vf'il'r fro'r‘ a: tt ("i ‘i r ' \ f In l)l'(?\’l()tl8 .'.ork Gert.‘ has est-afa- t fiat ar‘i. arr-vs. i-I'eifl‘t a" While there are several standout empty stages rexeal pas apt ‘aij,r;ti . sk ~23 iaiu' 1'»: l ‘ WUCCS in this exhibition. what is oppressixel; ente flat dark are. m tangles :rf kicking is a coherent curatorial \ismn. Re;)resentational elements if‘ M:- .-..,~g-" a . ‘ something which is always a danger HMlCll'HU-titlt? geometric any. ‘II', an} 0: n9,» rem : ' when tackling; sut‘h a broad subiet‘t the human form redui ed to l‘itl‘, ,risfir k ts:,::r:;~,-':s:wi. Gert." ' i > area. lnstead. we see all too brief frequently applies exeryda, eiieyts a" 2" (ii-"‘a‘“. t We,” < snapshots of portraiture Without a C()llSlle;TIit)l‘it3i buttons. mats. Weir: r p e “air a t'af l / context beyond that of thematic and signzfx the absent pod», Tin» 'ragtr, l‘i_l;l"f‘; r‘e' wk :w; twa- “M \, for‘rnalrst Similarities. Although stand irieritor‘. of a ghost. He" tr’i‘atr'm-“f . 7 figure 5» ‘;/,‘_:"'_ at o ‘ . alone pieces speak for themselxes. early Dadaest ~.-.;‘rk b. pk‘til‘k: tam: L). 11:" 1,. t" Kw: we ’ -.—-— studies bx Andre, Derarn and Walter spokes J.le ar‘towtxa srgrr‘r‘ n.; ar‘ 2 «a: «,tx‘ape p‘ Sickert are presented Without ner e'k. reference to the finished work. We The artist tireates a sche'ra‘. t; urn " ' .1 z . .ft' .; :z’T’l are left to guess at what role they ripping into t'erms. cutn tam/s :narrs: 1 T"-:' (425‘s played in the formation of a final occepyrrfig the rt‘idd'e {Vane — f"»;- r; -- .r: n12. work. YQLing curaIOrial talent ShOuld in traditio'iai represe'itatb'xa : ..'. " ' z . be supported and there are gems in emerges. These appear to Le ~ 4.: " .1'. . this exhibition that make it well wonh arrangements. but a strong: i7“"‘{;i,':> T") 5: , the uSit. iKristina Johansenl underpins her col‘ages. Alexa".1e' Ke'wea,
2‘: Tet, 7/}: THE LIST 95