5.30 pm Patrick Studios Close to Home
6.15 pm Leeds Art Gallery Fiona Rae: Maybe you can live on the moon in the next century
6.45 pm Henry Moore Institute Sarah Lucas: Ordinary Things
Meet at Patrick Studios at 5.30 pm or join us at any of the venues along the way.
The Leeds Art Walk takes place the first Wednesday of every month and is free and open to all.Booking isn’t required but please contact us in advance if you have any access requirements as accessibility of venues varies.
For more information please contact email@example.com or 0113 343 2718
The Leeds Art Walk is a monthly tour of exhibitions in Leeds programmed by Pavilion and artist Amelia Crouch. The event aims to introduce art-lovers to the diverse range of visual arts offerings in Leeds. Each month the schedule includes three or four exhibitions which are introduced by an artist or curator.
Patrick Studios can be reached via Eastgate then St. Mary’s Street, or by crossing the pedestrian footbridge over the A64 from the back of the West Yorkshire Playhouse car park. Contact us if you need any further help finding the venue.
More about the exhibitions
Close to Home
This exhibition is a development of network Land2′s ongoing research into how art practices might contribute to a nuanced understanding of specific places and their communities. All the artists in this exhibition engage with places in their immediate vicinity. The works on show offer ways to make sense of the complexity of experiences, histories and activities in these localities. There is an interrogation of the quotidian, the everyday, the familiar, the marginalised and the unnoticed.
LAND2 (“land squared”) is a creative practice-led research network, of artist / lecturers and research students with an interest in landscape / place-oriented art practice.
ARTISTS: Iain Biggs, Clare Burnett, Anne-Marie Creamer, Gail Dickerson, Phillipa Dobson, Anne Eggebert, Sheila Gaffney, Deborah Gardner, John Harper, Hondartza Fraga, Lily Markiewicz, Paddy McEntaggart, Mick McGraw, Mary Modeen, Melanie Rose, Jane Rushton, Matthew Shelton, Harriet Tarlo, Andrea Thoma, Rebecca Thomas, Patricia Townsend, Susan Trangmar, Judith Tucker, David Walker Barker, Paul Wilson.
Fiona Rae: Maybe you can live on the moon in the next century
Leeds Art Gallery presents an exhibition of 17 paintings by Fiona Rae from the last decade. Over the last 25 years Fiona Rae has established herself as one of the leading painters of her generation with a distinctive body of work, full of restless energy, humour and complexity, which has set out to challenge and expand the modern conventions of painting.
This Leeds Art Gallery exhibition starts when Rae’s paintings had begun to reference a world keyed to the computer screen, echoing in painterly analogues many of the new visual conventions familiar to a post-Photoshop generation. Fonts, signs and symbols drawn from contemporary design and typography appeared, whilst more familiar abstract marks and spontaneous gestures worried the autonomy, legibility and function of these graphic shapes, debating a new synthesis of painterly languages.
In 2004, when Rae visited Tokyo and reconnected with visual aspects of her peripatetic childhood in Asia, her lexicon further broadened to include small figures or cartoons whose status is left intriguingly ambiguous. Like Caspar David Friedrich’s human presences in an overwhelming landscape, they serve to point up the metaphysical and artificial dimensions of abstract painting, whilst also providing an empathetic point of identification for the viewer that invokes a more personal reading.
In using elements that might be considered girlish or otherwise unserious, Fiona Rae looks to re-examine their meaning and expressive possibilities from what could be seen as a feminist perspective. In more recent paintings, these ludicrous yet honest images might be thrust into passages of expressive brushwork, layered and dense, or caught in black calligraphic drawing inspired by Dürer’s Apocalypse woodcuts, to produce dramatic and emotive compositions. Her recent titles often purport to be exclamations or statements, but like her paintings, they elude definitive explanation and can appear simultaneously dark and charming, anxious and insouciant.
Sarah Lucas: Ordinary Things
Ordinary Thingstakes Sarah Lucas’ (b. 1962) recent series of sculptures ‘NUDS’ (2009-) as a starting point, looking forward and backward across an artistic practice that has engaged with the possibilities of sculpture for over two decades.
Many exhibitions of Lucas’ work have focused on her as a central player within British art in the 1990s. Ordinary Things offers a counter position: this exhibition of thirty sculptures turns to the sculptural rather that the sensational, positioning Lucas’ work within an art historical lineage that addresses the materials and processes of sculpture. From ‘Big Fat Anarchic Spider’ (1993) to ‘NUDS’ (2009-2010), to ‘Unknown Soldier’ (2003) and ‘Jubilee’ (2012), via ‘Suffolk Bunny’ (1997-2004), ‘Au Naturel’ (1994) and ‘Penetralia’ (2008), Ordinary Things identifies Lucas’ consistent questioning of the definition of sculpture. Lucas works with the ‘ordinary things’ that form our surroundings and assumptions.
Sculpture is formed of a narrow and specific history, concerned with processes of making and informed by the ways in which human beings use objects to attempt to make sense of the surrounding world. Lucas’ sculptures are built on the art historical idea of what a sculpture might be – an object, defined by gravity, space, the human body and naturally found forms. Ordinary Things locates Lucas’ works firmly in this history, with the works pointing to the canon of sculpture, ranging from third century Italian votives, Bernini’s classical statuary, the figures of Henry Moore and the natural materials of Barbara Hepworth, to the Arte Povera strategies of Mario Merz and the found objects of Robert Filliou. Her works also recall the knotted bodies of Orlan from the 1960s and the dolls of Hans Bellmer and Oskar Kokoschka, as well as the surrealist figures of Pablo Picasso, Robert Gober and Louise Bourgeois, Cycladic torsos and archaeological artefacts. Ordinary Things is a consideration of the ways in which Lucas uses the sculptural languages of the figure and the cast. Made by her own hand, her objects are produced through the languages that surround them, materials that are ready at hand, and sculptural procedures and traditions, taking in cutting, welding, moulding, handling, stuffing, assembling; monumental, ready-made, formal, quick-build, representational and abstract.
Lucas’ sculptures are made of and from the human body – a decaying and sensible object that requires maintenance and care. ‘Au Naturel’ (1994) is a portrait of a couple on a bed, a man represented by a cucumber and a pair of oranges and a woman by a pair of melons and a bucket. Both vulgar compositions are constructed from materials and vernacular slang that are commonplace, their ‘human’ component made from organic matter that needs to be replaced as inevitable decay sets in. In the seven ‘NUDS’ (2009-2010) here on display, limbs can be seen wrapping around each other in knotted couplings and solo acrobatics, the cellulite-marked flesh formed from ‘natural’ tights stuffed with fluff and stiffened by wire, the delicate surface bruised and wrinkled as the bodies perch on their breeze-block supports.