Richard Plank
Spotlight UK Artist – for the weekend of July 30th to August 1st 2021 on:
Playing a track from Going To The West and Buck Dancer’s Choice almost every hour from just after 5pm on Friday 30th to just before 9pm on Sunday 1st.
Also featuring musical friends and colleagues Alan Ward, Guy Charles, Sibs Riesen, Kate Lissauer and Jacqui Callis.
Angus-Hughes Gallery, London
Relative Trajectories
Curated by Saturation Point
Private View: Friday 13 July 2018, 6-9pm
Exhibition Continues: 14 July – 5 August 2018
Friday to Sunday 12-6pm, or by appointment
Relative Trajectories is the first limited edition of artists’ prints produced by and for the Saturation Point project. The artists whose work features in this project have played an active role in developing awareness in the UK of the non-objective, geometric and systems canon within the broader context of contemporary British abstraction.
Three old Slade School of Art contemporaries at the opening of:
Tess Jaray: Dark & Light. Megan Piper, 67 Jermyn Street. 11th May, 2016
The Edge of Printing. Keeper’s House, Royal Academy of Arts, London
28 April – 30 September 2016
Curated by Tess Jaray RA. This exhibition celebrates the developments within contemporary printmaking practice, the exhibition will explore the way in which traditional techniques have evolved and examine some of the new technologies utilised by artists.
This Is Change. Onca Gallery, Brighton / December 2015
What impact do the marks that we make have on the world around us?
This is Change is an exhibition of artwork on paper, exploring how we – as artists, art producers and consumers – can be agents of change. Artists have been invited to donate an artwork with a view to raising awareness of and funds for ONCA’s work: inspiring creativity and positive action in the face of environmental change.
This is Change is co-curated by Laura Coleman and Alice Clayton (ONCA) with Duncan Bullen and Philippa Lyon (University of Brighton).
From Centre. L&W Building, London / April 2015
A group exhibition which surveys contemporary approaches to reductive geometric painting, drawing and sculpture. Spanning several generations of artists, born in every decade from the 1930s to the 1980s, From Centre makes the case for the growing relevance of abstract art in the UK. Curated over three floors in a converted laundry, the works exhibited expand on the notions of architectural space, surface play, systematic painting, and sense of place.
Exhibiting artists:
William Angus-
Curated by Saturation Point Projects & Slate Projects
We gratefully acknowledge Mark Liebenrood and a-n The Artists Information Company for the use of this review:
“Abstract, largely geometric or reductive art is alive and well in the UK if this exhibition was an indication. Organised in collaboration with the online forum Saturation Point and featuring twenty three artists from every decade from the 1930s to the 80s, many of whom were linked to one another through teaching or friendship, the works were in a wide variety of media including painting, sculpture and drawing.
As well as those traditional methods of fabricating art, modern technologies facilitate new approaches which seem to especially suit this kind of work. Tess Jaray laser-cuts layered monochrome sheets to make arrangements of repeated small shapes, sometimes suggestive of filigreed architectural decoration. The hard-edged compositions soften at a distance, but the often-lively colour contrasts still retain their boldness.
Giulia Ricci’s work, reminiscent of Jaray’s in its use of repeated geometric elements, employs laser engraving and painting to present patterns which disrupt almost organically, as if the two dimensional design was being disturbed by something rising from beneath the picture plane.
Geometric abstraction can’t avoid being haunted by various modernist ghosts. I couldn’t help thinking of Bridget Riley when looking at Patrick Morrissey’s dazzling canvases with their progressive variations of forms, and the influence of Frank Stella was visible in other paintings, including those on shaped supports.
One such painting, evocative of Stella’s three dimensional works but softer and subtler in its choice of colours and application of paint, was Julia Farrer’s A Knot in Time II, a mass of interlocking softly-rendered forms. Precise and detailed without losing warmth, it was one of the paintings here evoking a stronger sense of sculptural form and pictorial depth.
But the real surprise for me was that of Richard Plank’s work. The whole show was staged in a building still undergoing conversion into apartments and the unfinished appearance of many of the walls and floors encouraged an initial reading of Plank’s sculptures as three elaborately arranged but oversized projections of electrical cable or piping. In fact the satin black forms were 3D printed sculptures, and this application of still-developing technology to make something apparently much more hand-worked was an appealing combination. Perhaps, for sculpture at least, new technologies such as these are a way towards innovative forms.”
Now,Then. Flowers Gallery / 31 January 2015
A panel discussion on the legacy of reductive abstraction from the 1970s and its influence on British artists today. Saturation Point. Projects hosted this panel discussion at Flowers Kingsland Road.
Chaired by broadcaster, writer and curator Philip Dodd, the panel comprised Rana Begum, John Carter, Natalie Dower, Lothar Götz, Peter Lowe, Jonathan Parsons and Richard Plank. The event was filmed and will be available to watch on Saturation Point soon.
Megan Piper introduces ‘An Evening With Tess Jaray & Richard Plank’ April 14th 2014
With thanks to Megan Piper. Photos by Amanda Lambert (Hollywood Road Arts Club)