www.list.co.uk/visualart
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LOTTE GERTZ:
Mary Mary, Glasgow. until Sat 1 Mar 00
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NICK EVANS AND TONY SWAIN around, reminding us of our own body‘s relationship
tr; wink that ()illll (null. lgili lull k Illl’) lnv rl ith H , inbur h, until n 20 A r . . . e e ouse Ed 9 S” p ..... to the work. While Evans IS clearly influenced by
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there are hat) “.lit int; rm rr: the Two Glasgow-based artists have been brought modernism, representational territory seems not so
3hr rmrrielx, 'l has.“ l(' l ill‘ii: together and seemingly linked by their aptitude for far away, particularly given titles such as ‘Figures
MISSlflrllll I‘ .rrrrl 'l ).lf;f».'l<_l(- l Him and interest in the process of making. It gives this Standing‘ or ‘Figures Fallen'.
lvl as; rent. II‘ A strait lltlllli' r; w w. {i exhibition an appealing rawness and physicality. But Swain also occupies the space between
lumilwl hit W M will“ with «1' it M k tar :r‘ perhaps this exhibition works so well because Evans representation and abstraction, yet his approach of
l()l .r hedrl. Tildllt llllll. Irlw the ‘.’lt".'.’t r r and Swain both demonstrate such an acute pasting together and painting over newspaper or
“WW: H N “Hf; [Aivxtiiit lirr Kennel -: it. awareness of the formal and historical concerns of magazine cuttings lends it a closer relationship to their media: Evans with sculpture, Swain with reality from the outset. Again, the works vary in size, painting. but are relatively small and unimposing. That they
Downstairs, Evans’ intuitively constructed remain unframed retains both their physicality and
sculptures occupy three rooms, presenting a range of their original function as hand-held objects, lending materials, sizes and presentations. In one room, tall them an approachable familiarity. But it is Swain’s and totemic stacked blocks of rough-cast aluminium transformative surrealist skills which give these tower over our heads, while, in the next, a row of works such an intriguing presence, and the larger delicate porcelain vessels are found quietly lined up works give him room to demonstrate this to greater on a shelf. By contrast, in the third room, a giant 2- effect, where giant staircases or swathes of paint shaped wedge of plaster, scratched into with linear overlap houses, pyramids and stadium lights. Swain patterns, lies scrunched on the bare floor like an creates internally complex images which nod to injured animal. In spite of Evans’ sparse colour range, previous painters from the Cubists to the Surrealists, these varying shapes and textures create contrasting but like Evans he maintains a freshness of approach visual sensations and elicit a range of physical which is entirely contemporary. (Rosie Lesso)
REVIEW Pl lt‘lt‘t ilb‘ti ‘l i”: STEPHEN HEALY: ETHEREAL Streetlevel, Glasgow. until Sat 22 Mar 000
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.21: “:1. ‘ '1 'Ja' 27,8 THE LIST 95