Everard Read is delighted to invite you to the openings of solo exhibitions by Liberty Battson and Bronwen Findlay.
LIBERTY BATTSON - THE FIX
It is not easy being an artist. The idea of art as a career baffles many and yet, every day, millions of people visit museums, attend music concerts, pour over Instagram and consume art, unquestioningly. Fine art seems to be one of the hardest careers to justify, and abstract art has to be the toughest sell of them all. Unfortunately for this artist, the unfathomable, esoteric quality of abstraction has always provoked and inspired Liberty Battson.
Battson's earlier work relied on algorithms and data to dictate the overall composition of her artworks.Slowly she has shifted towards aesthetics , rebelling against her own systems and rules established over the years of her practice, asserting her creative freedom over the dictates of the data, and has finally arrived at a body of work in which there is no data at all. There is colour.
In letting go of the formal qualities that typified her practice, Battson has created a body of work that is a pure expression of freedom. There is no code, there is no index, there is no caveat. There is colour and there is line and that is OK.
BRONWEN FINDLAY - HEAVEN & EARTH
Upon a trip to The Cloisters, the upper Manhattan home of the Met’s medieval art collection in New York, Bronwen Findlay found herself inspired by the “The Hunt of the Unicorn” tapestries. Also named the Unicorn Tapestries, the series is one of the most renowned yet baffling survivors of the late Middle Ages. The exact geneses and imagery of the works remain undetermined, although they are believed to have been produced and/or designed in Paris during the sixteenth century, and are now classified as canonical works from the late Middle Ages/early Renaissance.
Findlay, as she has done with previous bodies of work, seized the visuals of this well-known series as a departure point, merging its visuals with her own concepts and frame of reference. Throughout her exhibition we can see the flowers, the dogs, the rabbits and other features of the Tapestries emerging through her effervescent palette.
Findlay says of her works, “my paintings are about everything – about the sky and the earth under it. They are about here and now as well as then“(2020). This surprising exhibition began as a reinterpretation a famously cryptic series, but it expands beyond those works into the heavens, into an esoteric realm of history.