After Realism: Richard Moon


Richard Moon is a painter, who uses old-fashioned photographic tools to force grand gestures often denied to contemporary painting. Tackling such subject matter as death, madness and alienation, he exploits the medium’s history of failure and irrelevance in order to pursue his Romantic inclinations. For After Realism, he presents a black and white still life of some bananas in a colander, resting on a skull and bone tablecloth. 

Richard Moon ist ein Maler, der altmodische fotografische Mittel verwendet, um große Gesten zu erzeugen, die zeitgenössischen Gemälden oft verwehrt bleiben. Während er sich mit Themen wie Tod, Wahnsinn und Entfremdung beschäftigt, macht er sich die Geschichte des Scheiterns und der Belanglosigkeit dieses Mediums zunutze, um seinen romantischen Neigungen nachzugehen. Für After Realism präsentiert er ein Stilleben in Schwarz-Weiß: ein Büschel Bananen in einem Sieb, der auf einer mit Schädeln und Knochen bedruckter Tischdecke platziert ist.

New Show: After Realism

12th March – 15th April 2016, Opening 12th March, 3 – 6 pm


After Realism brings together five artists, who in the face of contemporary challenges persist in making representational images. Liane  Lang, Richard Moon, Maria Thurn und Taxis, Gavin Tremlett and Youjin Yi work with the twofold difficulty of representing reality. First brought to the fore by a previous generation of artists, this consists of, on the one hand, an increasingly absent sense of what reality may be. Long mediated through the photographic and digital imagery, in its present commodified form reality retreats ever further behind a multitude of touch screens. On the other hand, art has since lost its privileged place in the task of representation.

In their work, Liane Lang, Richard Moon, Maria Thurn und Taxis, Gavin Tremlett and Youjin Yi reclaim some of the lost ground of representation, but in a manner that is alternately teasing, earnest, hostile, careful and funny.

After Realism führt fünf Künstler zusammen, die trotz heutiger Herausforderungen nicht davon abweichen gegenständliche Bilder zu schaffen. Liane Lang, Richard Moon, Maria Thurn und Taxis, Gavin Tremlett und Youjin Yi sind dabei einer doppelten Problematik ausgesetzt die Realität darzustellen. Bereits von einer vorangegangenen Generation von Künstlern beleuchtet, bedeutet dies zum einen ein zunehmend mangelndes Gefühl, was Realität sein könnte. Lange Zeit durch fotografische und digitale Bildsprache vermittelt, zieht sich die Realität nun in ihrer aktuellen kommerzialisierten Form noch weiter hinter einer Fülle von Touchscreens zurück. Zum anderen hat die Kunst ihre privilegierte Position in der Aufgabe der Repräsentation seitdem verloren.

In ihren Arbeiten gewinnen Liane Lang, Richard Moon, Maria Thurn und Taxis, Gavin Tremlett und Youjin Yi Bereiche des verlorengegangenen Terrains der Repräsentation auf eine Weise zurück, die abwechselnd scherzhaft, ernsthaft, feindselig, vorsichtig und humorvoll ist.

(trans. Nadja  Gebhardt)

drAwn 2gether: Rebecca Partridge

Night Sea (Study)

Night Sea (Study) relates to an ongoing series of paintings, ‘Notes on The Sea’. Consisting of twenty four minimal photorealist paintings (shown in sets of 12) the works depict calm, fog-veiled seascapes as polarities of night and day. In this piece the archetypal romantic image enters into a contradiction with itself as it becomes part of a system. Playing with notions of duration, mathematic abstraction, and the possibility of painting a beautiful landscape, the works are an attempt to rationalize the epitomised romantic landscape through a meditative practice which plays with various senses of rhythm. Rebecca Partridge 2014

drAwn 2gether: Will Tuck

Drawing is not something I think of as particularly relevant to my everyday practice as I usually make paintings with an airbrush; so when asked to participate in this show, I found myself unsure about what to produce.

I was attracted to the idea of drawing the white noise seen on a television screen, because it reflects this feeling of being stuck, of being a subject, which also ‘jams’ itself.
The image is abstract in one sense and photoreal in another – the lines are the result of my camera having a shutter speed fast enough to record the television’s cathode ray.
As I worked on the drawing other aspects occurred to me. White noise is approximately 1% residual energy from the Big Bang and I liked the idea of visually representing (albeit in a small way) of this primal energy.
A friend also mentioned that some people believe the dead use white noise to communicate with the living and I thought the idea of drawing as a kind of portal was also interesting. Maybe it contains a message from the afterlife!  Will Tuck 2014