Multiplicity, Arrival, Pattern

There’s something very rejuvenating about these mainly abstract works: a cellular reset through living colours and organic shapes. Many have a diffuse energy to them, and would make a brilliant focal point to a room. Such works – in any colour or neutral palette – can bring balance to a space. Multiplicity, arrival and pattern are the key words of this week’s curation. 

Tia Taylor Berry and Minnie Kathleen Browning in their chosen monochrome palettes – orange and blue respectively – would make amazing centres for rooms designed with those colours at their heart. 

Sara Willett’s paintings are almost a hammock for the eyes, but also the view up to the cosmos: see the restful drift of their rhythms, patterning with intricacy and simplicity to sublime effect.

There’s the soothing, repetitious geometries in energising pallettes of Sarah Shaw and Toni Harrower. 

Sax Impey and Angelika Biller’s work, in wildly different ways, are elemental: Sax’s vast seascapes are on the cusp of the representable; Angelika’s proto-paintings in watercolour summon a different iteration of chaos.

Gareth Griffiths, a member of the Royal Society of British Artists, offers a magnificent sculpture. The fluidity of the artist’s metal sculptures is what is so immediately appealing about them: deconstructed and elegant, a perfectly balanced cascade arrests the eye. Inspired by bold architectural lines, made of steel and sometimes with wood, some works such as ‘Montabello’ and ‘Brentwood’ are designed to withstand the elements and look well situated in a garden, ambiguously organic.

Using grey Stephen Todd and James O’Connell make works focusing on the tactile, bringing this sense to the foreground of their visual medium.

Introducing new artist James Bristow: who chooses lucid colour for his optical adventures á la Bridget Riley. The flex of the wave in his work is pure motion. His one-off screen prints are sudden experiences of vitality: tactile and cerebral, elegant undulations. Formally they evoke unity in difference; their use of colour is generous. Looking at them sparks energised, trance-like rumination.  

And something unique from 2022 graduate Caoimhe Cunningham: when fixed in front of a light or window her cloth hangings make a shrine-like fixture for a room. Her work is interested in making the mathematical structures of a work of music visible. She feeds the data she extracts through formulaic equations and graphs that inspire the graphics in her paintings. 

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