Galleries magazine - page 8

It’s difficult, when discussingthe
work of Matthew Lanyon, not to
mention his father, the painter
Peter Lanyon. Difficult but
possibly unfair since for Matthew,
as part of a hugely talented
family, the legacy of his illustrious
father (he died when Matthew
was 13) was not always easy to
assimilate, and his early career
was a conscious move alonga
different trajectory.
After university he spent much
time travelling; training and
workingas a carpenter and
builder before embracingwhat
now seems the inevitable full
circle and beginning to paint.
Some 30 years later, it is easy to
see how valuable those early
years were and what they have
enabled him to bringto his art.
Over time he has built up a
vocabulary or visual language,
with which he explores a
landscape part real (often that of
West Penwith) and part
metaphysical. There are signs
and symbols alongthe way that
point to a back story, a
mythology, a Pilgrims’ Progress
or an Odyssey that recalls the
aboriginal Dreamtime paintings of
Australia’s indigenous people.
The current exhibition at
Craftsman Gallery St Ives
In the Tracks of the Yellow
Dog’ (also featuring sculpture by
Breon O’Casey and ceramics by
Rebecca Appleby), a reference to
Kipling’s ‘Just So’ story read to
Lanyon as a child – a dreamtime
of the soul when the child is father
to the man perhaps.
As a writer on the visual arts I
have always found poetry an
intensely rewarding point of entry
into achieving a better
understanding of a work’s
unconscious creative tap roots.
So too, it would seem, has the
well established Spanish abstract
expressionist painter, Felix Anaut
who has been developing his own
painting style, which he dubs
‘visual music’, to describe the
idea of the synaesthesia between
art forms that he likes to play with
in his art.
In 2015 this took the form of a
collaboration with the well known
British-Ethiopian performance
poet, Lemn Sissay whom he
invited to come and work with
him in his studio in France. They
quickly formed a common bond,
jointly expressing their thoughts
in rich and playful works of art
that are very much more than the
sum of their parts, as you can see
in the show that has been
brought together by the
enterprising Arundel-based
Zimmer Stewart
at the
Menier Gallery
in London. The
paintings are shown alongside a
video presentation of Sissay’s
poems being read by Dame
Diana Rigg.
And that isn’t quite the end of it
either – Anaut is embarking at the
same time on yet another project
– this time some editioned, large
scale ceramic pieces made in
collaboration with the Raimundo
Abio in Spain. A man of many
parts it seems.
There is something unmistakably
autobiographical about Richard
Walker’s prints. He emerged out
of Camberwell and Chelsea
Schools of Art at that curiously
dark and troubled time of the mid-
70s, too late for the oddly
innocent exuberance of the 60s,
too early for glam rock and
Thatcherism, but slap bang in the
middle of Bowie, Eno and punk.
His subjects reflect and
celebrate an intensely urban Post-
Pop aesthetic – the architecture
and life of London and New York
and the constant journeyings he
made between the two cities as
well as the art, music and culture
he immersed himself in.
This all finds a wonderfully
exhilarating expression in a 40th
anniversary of his printmaking
practice, entitled, in celebration of
the place where he feels it all
began and also after the
eponymous butterfly, ‘Camberwell
Beauty, 40 Years of Printmaking’
showing at the
Curwen Gallery
Artistically, Rauschenberg,
Warhol and Hamilton were all key,
also Richter and Polke, but
Walker’s artistic voice is always
very much his own, layered and
subtle, joyful and poignant.
Felix Anaut
Richard Walker
1,2,3,4,5,6,7 9,10,11,12,13,14,15,16,17,18,...56
Powered by FlippingBook