Brighton was an enlivening and uplifting, well-curated show, characterised by really strong, engaging painting, which had a raw quality and a naivete. Anita Kavaja created tender paintings often set in domestic spaces depicting human relationships. Elisha Enfield used a really exciting painterly touch – washes, stains, disturbances of paint and curious lighting – to form abandoned interiors with a warm palette, spaces opening up into other spaces.<\/p>\n
Noe Baba was immersed in a language of her own, a sort of Where The Wild Things Are re-imagined in lovely sun-filled hues, at other times she was hinting at something figurative in a difficult and arresting way. Peter Barwick created a positive visual assault, crazy Technicolor snapshots of a wild world, combining dreamy childish candy floss colours with radical experimentation, while a television played in the centre of the cluster of paintings. Barwick’s artist’s statement was erased and overwritten in places, mimicking the preoccupations of his paintings: the digestion, elision and selection of a great influx of information.<\/p>\n
Samuel Reagan’s work displayed a raw quality that was prevalent throughout the show, and which spoke of the confidence to stop, to leave things as they are, and to know when not to re-work a piece. He created small- scale abstract works.<\/p>\n
Stephanie Kirk showed large-scale, colourful and energetic paintings using the silhouetted forms of children, with their hands as troubled liminal points, perhaps considering a subject’s impact on their environment, or the ways in which a subject is influenced and impacted on, and formed by, their environment – the negotiation between the space within and the space without.<\/p>\n","protected":false},"excerpt":{"rendered":"
Brighton was an enlivening and uplifting, well-curated show, characterised by really strong, engaging painting, which had a raw quality and a naivete. Anita Kavaja created tender paintings often set in domestic spaces depicting human relationships. Elisha Enfield used a really exciting painterly touch – washes, stains, disturbances of paint and curious lighting – to form […]<\/p>\n","protected":false},"author":25,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","footnotes":""},"categories":[542],"tags":[],"class_list":["post-2710","post","type-post","status-publish","format-standard","hentry","category-dispatches-from-the-field"],"acf":[],"_links":{"self":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/2710","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/comments?post=2710"}],"version-history":[{"count":4,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/2710\/revisions"}],"predecessor-version":[{"id":12837,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/2710\/revisions\/12837"}],"wp:attachment":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/media?parent=2710"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/categories?post=2710"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/tags?post=2710"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}