Carver Hill has opened up their well-lit space with some clever structural changes and interior colours, and Daniel Anselmi's art appears all the stronger for the gallery giving over its entire space to this exhibition; a delightful surprise for the visitor and a clever way of creating a journey through the paintings, collages, and assemblages on the first floor, towards the Monhegan Island Series of monotypes on the second floor.
The work in the lower gallery feels like the vibrant big brother of the meditative Monhegans, creating an intriguing tension between the two spaces. As well as intricately cut and composed collages, there are energetic collaged paintings that exploit the layering of materials, so that we don't always discern foreground from background forms, paint from paper. A series of new, larger-scale paintings with collaged elements furthers this sense of a built work; despite the lighter tones they feel weighty, with their blunt muscular cuts and black outlined forms. These are the first works that the viewer encounters on entering the gallery and are a compelling introduction to the show.
Distinct from the lively atmosphere of the main gallery, the intimate room upstairs hosts a contemplative experience. The Monhegan monoprints are given room to breathe on the gallery's soft brown walls; the blues, yellows and greys of Mr. Anselmi's palette evoking the place in which they were created. There is something of the sublime in these remarkably elegant works. Enhanced by intuitive curation, the slow time spent with them here somehow references the time taken in their making.
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