Following on from his 2020 residency, Walter Price’s exhibition at Camden Art Centre – Pearl Lines – is his first solo show in England. Combining work begun during that residency with newer pieces made during lockdown in New York, the paintings and works on paper mix reality with abstraction, thriving on a jaunty sense of shape and colour, and on the relationships between different elements of his canvas – collage, coloured pencil, oil paint and acrylic. Encouraging, while perhaps simultaneously discouraging, too straightforward a reading of their ‘meaning’
In a statement quoted in the File Note Essay by Rianna Jade Parker on sale at the gallery, Price says …
They (this was in context to white viewership but it can also be applied to a general audience) want it (the art) to be easier for them to understand. They want the final answer. They want it to be already figured out. “He did this because he went to the Navy” or “he did this because he’s from the South”. I’ve been dislocated from my own roots. I don’t owe them location or context. I want the work to offer wonder, yet avoid being condensed to the politics around my identity.
Pearl Lines continues at Camden Art Centre until 29th August.
I’ve always taken with a slight pinch of salt, Hodgkin’s assertion that his are not abstract paintings, but representations; representations, if I’ve understood him correctly, of place, people and emotions. Sometimes this works, it seems to me, sometimes it doesn’t.
In the case of Going For a Walk With Andrew its easy enough to see the green infused orangey yellow as the land being walked and the varied shades of blue as the sky above. What of the figures (?) in red and pink bending forward slightly at one side? The artist and Andrew? Objects in the landscape? Ephemera? Trees? Emanations from the spirit world? If this is representational painting, it is so at its more basic; if it is abstraction, it is abstraction as fused with landscape painting as in the work of Helen Frankenthaler or Joan Mitchell.
In its current exhibition, Howard Hodgkin: Absent Friends (till June 18th) the National Portrait Gallery seems only too aware of the need to hedge its bets. Portraits? Mmm, maybe. On the day I was there, there were quite a lot of confused people walking round the gallery, looking, some of them I suspect, for something that isn’t there. The exhibition, the NPG says in the very attractively produced handout, explores Hodgkin’s development of a personal visual language of portraiture, which challenges traditional forms of representation. Quite. And one would have to say that, as paintings, as works of art, the stronger that challenge, the more successful, more rewarding they are.
The early pieces on display here, painted between 1960 and 67, and under the influence, in part, of pop art, strike me as clumsy, almost self-consciously ugly. Unsurprisingly, the more mature the work, the finer the result, and there are, I think, some of Hodgkin’s very best paintings here, ones in which he has found a way of marrying representation and abstraction with a richness and complexity and a brilliant use of colour that repays repeated and prolonged viewing.
The ambiguity that exists in the work, as the wall text in the gallery suggests, is one of its strengths, combining, as it does, (and I’m paraphrasing here) literal description with metaphor, within a situation that is not immediately recognisable. This is sensuous art and should be enjoyed as such: don’t strain for meaning, let the meaning, the emotion, come to you.
Near the end of the show there’s one of my favourite pieces, one almost entirely given over to metaphor. Two broad brushstrokes, swipes, if you like, down and across a piece of wood, Hodgkin’s memory of Selina Fellows, standing at the bar in a brilliant blue dress at the Museo Nacional Centre de Arte Reina Sofia in 2006. The painting was made in 2011-12. I love it.