Absence and Presence

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San Francisco Burnt, 2010 Burnt Video Covers Of The Film, "San Francisco 1936" 48 X 58 Inches © Robert Jaffe, photography
Emanation Acrylic Resin, Wax, Pigment 9 1/2 X 15 X 4 In. © Courtesy of the Artist and Toomey Tourell Gallery
Absence and Presence

49 Geary Street
San Francisco, CA 94108
April 1st, 2010 - May 1st, 2010
Opening: April 1st, 2010 5:30 PM - 7:30 PM

Closed as of April 2015


Toomey Tourell Fine Art is pleased to announce a group exhibition with the artists Matthew PictonClaire Burbridge, entitled Absence and Presence. and

Dates of Exhibition: April 1st – May 1st, 2010.
Reception with the artists: Thursday, April 1st from 5:30-7:30 PM.

“Absence and Presence” is the fruit of a creative co-operation between the artists Claire Burbridge and Matthew Picton. In this exhibition their contrasting approaches and media converge, resulting in a distinctive view of humanity and civilization.

Two of the works represent Dresden, a city emblematic of European history. Dresden, with it’s rich cultural tradition was known as the “Florence of the Elbe” on February 13 1945, disaster struck, (as it had 200 years before) when the military bombing of the allied forces destroyed more than ninety per cent of the city centre. The floor installation is based on a city plan from that time, reminding one of the irreversible results of the tragedy. On top of the cartographic form the artists placed multiple wrapped figures by Claire Burbridge. The wrapped figures evoke a sense of life beyond death- human presence lying in a state of suspension far beyond the absent lives and ruined structures of the civilizations that contained them. Entirely created from life models, the statues emphasize that great historical events are a synthesis of any number of human tragedies.

The work mounted on the wall depicts Dresden using a score from Richard Wagner’s “The Ring of the Nibelung”. The composer had an ambiguous relationship with the city and the Ring is partly a reflection upon his life and experience there. In 1849 Wagner was sent into exile for his participation in a revolt that was brutally suppressed by the Saxon regime. The “Ring” has been subject to many contradictory interpretations, and less than a hundred years later, his music became a tool to illustrate the Fascist ideology of Adolf Hitler. Although all this belongs to the realm of history, neither the moving operas of Wagner, nor the common consciousness managed to avoid the trauma of the great conflict. The delicate structure of the work demonstrates how art and individuality are vulnerable amongst the insanities of civilization.

The figures in the four resin sculptures by Claire Burbridge lie entombed within their monolithic blocks. There is a sense of life held in a state of suspension as the mortal form is caught in its final moments of dissolution. The preserved life forms carry forward the memory of humanity in stark contrast to the empty and burnt interiors of the ruined paper cities. The bronze sculptures are the statuary equivalent to the shell like fragility of the resin figures, solid, permanent, final and everlasting.

The sculptures of Tehran, Washington DC and San Francisco were assembled from paper and systematically burnt. In the first case the covers of books banned by the censorship construct a meticulous image of the city about to be destroyed. It shows how totalitarian states influence the appearance and fate of agglomerations. Opposed to a similar treatment of the United States capital, the work makes a powerful comment on world politics and the status of global ideologies. Without jumping into easy conclusions and accusations, Picton manages to emphasize the potential danger of global conflict through the iconic capitals of competing polarities. The Sculptures create an ambiguous and fictionalized narrative, a deliberate blurring of the boundaries of intention, fantasy and reality.

The work representing San Francisco focuses on the great fire of 1906. The sculpture is constructed from the covers of the 1936 film about that event. In this way, layers of history, fiction, interpretations and reaction merge into a multi-faceted and retrospective image, which also looks forward to the future.

Matthew Picton and Claire Burbridge combine their distinctive approaches in an exhibition that illuminates the changes in relationships between civilizations. Using a variety of visual languages, from the engineered cartographic lines to the natural form of the draped human body, they show the condition of particular human beings in the theatre of historical change. The work combines the mortality of the human form with the impermanence of man-made civilizations, and points to the enduring capacity of humanity for renewal and resurrection.