Trish Clark Gallery is delighted to present Solid Colour, a group show in two parts. Situated on either side of Phil Dadson’s solo exhibition Sound Anatomy (presenting his recent projects from the Venice Biennale and Kassel), Solid Colour brings together artists whose work across painting, sculpture, installation and video shares a highly nuanced understanding of colour.
Solid Colour: Part I presents Galia Amsel’s structural cast glass works alongside powerful early works by Stephen Bambury, while Helen Calder’s poured paint skins create sculptural forms, playing against the sometimes soft, sometimes murky slippages of colour in Marie Le Lievre’s paintings. On the exterior of the gallery, Shannon Novak responds directly to the building’s architecture in a site-specific intervention that will continue to be seen through Phil Dadson’s exhibition and form a bridge to Solid Colour: Part II.
Bambury’s pivotal No.38 (After Kave), 1982 (seen in his 1999 – 2000 retrospective at City Gallery, Wellington and Auckland Art Gallery Toi o Tamaki, and travelling exhibition Seven Painters: The Eighties), forms a key starting point for Solid Colour: Part I. Two paired but not identically-sized panels, densely painted, form colour fields that bleed slightly where they meet. This porous and contingent relationship, demonstrable in No.38 (After Kave), as well as his other earlier works presented in Solid Colour: Part I, continues its evolution in the sensibility of Bambury’s recently completed works that will follow in Part II.
These new, textured rust works which create colours not just with pigments, but with iron filings and chemical actions, will be presented in Solid Colour: Part II alongside Phil Dadson’s striking January Music works, rendering sound visible in inky strokes, while Andrea Juan responds to the aural, visual and ecological conditions of Antarctica in a video work entitled Red. The silky, biomorphic washes of Amanda Gruenwald’s large-scale paintings will be complemented by Chris Corson-Scott’s intimate and affecting My Father’s Studio, Three Months After His Death From Cancer.
