LONDON. Waddington Custot started an online platform “New Work” displaying pictures and sculptures by influencing modern artists nowadays. The work begins with a series of specialized solo exhibitions presenting at periods throughout the summer. A recently finished work by London-based artist Ian Davenport starts the program.
New Work: Ian Davenport represents four “Puddle Paintings”, which continue research of color. Basic to Davenport’s work is his choice of palette and unique ways in his use of paint. The color compounds in this series reference compositions by French artist Pierre Bonnard, when Davenport has seen at the 2019 presentation “Pierre Bonnard: The Color of Memory” at Tate Modern. Working with “Nude in the Bath”(1936), Davenport’s pictures explore Bonnard’s constantly changing color palette, mix colors, contrasts between golden, grey, purple, and blue.
Once his palette is chosen, Davenport uses different colors of acrylic paint to the top end of his aluminum cover. As the lines of color fall in dropped perpendicular columns, they drain into one another, generating a special optic result. Davenport says: “it is difficult to have a fixed view of Bonnard’s art as one’s eye moves around the surface of the canvas, alighting on the various shine colors and tones”. Davenport similarly mixes the colors within his chosen palette in such a method that they mix and combine, seeming to beat and contract in front of the viewer.
When the paint flows down the channels are compounded, spinning and rolling as each color is free to decide its own way through the others. Obvious in this picture is Davenport’s careful thought to process and his affair in the resulting work when the paint is provided a power of its own, beyond the direction of the artist.
New Work: Ian Davenport works at Waddington Custot online from 26 May and will be followed by New Work: David Annesley, with four hidden figures by the octogenarian artist, who has returned to starting activity after a long pause. Annesley’s first single exhibition was taken at the Waddington Galleries over fifty years ago, in 1966.
Created and processed in answer to an important set of global events,” New Work” does not follow a basic idea, enabling each artist to continue their projects and don’t distractions. This method brings into attention the need for artists to modify and reconfigure their authorized methods, changing recognized limitations into imaginative possibilities.
In a mood of enthusiasm for the exhibit to reopen this summer, and in care of the idea that the best possible method to feel and enjoy painting and sculpture is to observe it in person, the works will be introduced at the Cork Street premises of Waddington Custot, waiting for an eventual opening for guests.