The current show at the Parasol Unit is definitely something that I did not expect to encounter. The works that are on display seem to be a semi re-rendering of post-impressionist style, or at least the lightness of mark making that produces pseudo readable subject matter transporting one back to Art History 101. Visible Invisible attempts to portray a subject that has no physicality to it. Saying this, many of the paintings seem to rely heavily on figuration in the style of 19th century modernist imagery. The more abstracted paintings seem to mimic mid 20th century abstract expressionism donning a contemporary colour palette.
I think I am more distracted by the curation of the show rather than the work on display. In any other context, the work could function on its own, revealing itself as a specific critique of a historical approach to art making; i.e. Hans Josephsohn’s large brass sculptures. Being in an environment with so many works referencing and revisiting specific issues that art history has so deeply explored already makes for an outdated looking experience. I suppose in this sense this show is a successful pastiche of a modernist exhibition that explores issues of portraying and capturing ephemeral qualities within experiences.
--David Yu, London City Editor
All images courtesy Parasol Unit
Images from Top to Bottom:(Cecily Brown, Aujourd'hui Rose, 2005, Oil on linen, 195.6 x 139.7cm, copyright Cecily Brown, Courtesy Gagosian Gallery, Photo credit: Robert McKeever; Installation view, Parasol unit 2009, Photography by Stephen White)