1 December 2007 - 23 December 2007

Three recent postgraduates from Goldsmiths, The Slade, and The Royal Academy, show, or make reference to, the surface of painting in very different ways. Their connection lies simply in the boldness and confidence of the gesture but with a detectable precariousness. Nevertheless, as in the optimism of unfolding spring leaves - we can forecast the future successful development of these three.

Yujung Chang's tehnique denies the 'status' of photography by obviously hiding paint in the photograph until it becomes the most important element.? The tableaux she creates are painted on, photographed, and then the images are printed onto canvas. Through the artist’s use of mediated ‘mises en scenes’, a visual uncertainty for the viewer is created using photography as a witness to the theatrics of painting.

Ian Larson talks about the ‘animal’ in his work - animal mess, animal rage, animal madness seem to be what his thickly impasto'd work implies. He uses traditional oil paint to grapple with sexual and violent ideas from his fantastical mind, referring unfashionably back into the recent past to artists like Francis Bacon. So unusual is it now to see such expressionistic and yet conceptual work tackling the contemporary that the viewer looks on nervously and yet fascinated from behind the sofa.

John Lawrence makes references…… with the lightest of touch he produces complex and sometimes disorientating work from highly recognizable sources. His works are distilled from an continuous round of experiments and juxtapositions, using found objects or found information from contemporary culture. These transformations are often made through the act of removing and concealing, as if the meaning is to be found under, behind or through the surface of the image.

PREVIEW Friday 30 November 2007

Open Thursday - Sunday 12:00 - 18:00