For the Liverpool Biennial, as a student year group we visited the Walker Gallery near Lime Street Station, and The Bluecoat.

The Walker Gallery was brilliant, with an interesting array of paintings and the geometric works set the tone for most of my work this semester. Apart from the slightly disturbing inflatable cat taking up the foyer and the significantly more disturbing accompanying video, the painting galleries offered a treasure trove of geometric contemporary pieces.

I did not record the name of the artist who created the middle painting, but this inspired me in my own work to experiment with spray paints, creating similarly colourful strips, merging into one another and across one another. Some of the experimental pieces I created were almost similar to the plane effects in analytical cubism, which I was also studying at the time.

On the right is Totem by Alex Rennie, which interested me both because of its architectural composition and on a more superficial level how reminiscent it was of old Microsoft screensavers. The use of black and red to sharply contrast and the placement of the marks to make each structure unique was intriguing, and overall has a very solid and imposing effect within the canvas, just from the specifically placed blocks of red.

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This piece was seen at the Bluecoat in Liverpool. There were a series of these photographs and I connected with this one in particular because of the sharp contrast between the red, and monochrome background, like with Rennie’s Totem. The bold black lines dissecting the image into smaller sections was clean, and then the more complex folded and reflective surface of the red material seemed satisfying in contrast.

Generally I was not inspired or enthused by the work on display at the Bluecoat, and I found the quality of the graduates to be low in comparison to some of the work of students in my year and below.

 

 

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