#4
Carol Rhodes: Selected paintings and drawings to mark the publication of the new SKIRA monograph.

Private View: April 11, 6-9pm

exhibition continues to May 12

 

Opening times: Friday & Saturday 11am-6pm or By Appointment

The exhibition will be closed over the Bank Holiday
May 4&5

Carol Rhodes has been one of the most distinctive painters working in the UK in recent times. The significant body of work that she has produced over the past twenty five years assimilates and moves beyond two major critical impasses for modern painting: photography and pure abstraction.

Rhodes makes small-scale paintings depicting, from aerial viewpoints, encounters between the natural environment and human intervention, fictional syntheses resulting from a re-mixing of photographic sources. Finding beauty in deserted and apparently alienating places, her paintings allow us to contemplate our own relationship to the world around us. Writer Mark Prince has recently observed,

She creates compositions out of features she discovers in found photographic material – magazines, pictures, aerial mapping – which are then adapted into the network of a composition. Her marks claim to be in thrall to the way things are, only to turn out out be referent-less. They make us wonder what they might be trying to convince us of, and then encourage us to double back and realise that perhaps this is what all representational painting does.

(Art Review, December 2017)

Carol Rhodes was born in Edinburgh in 1959 and spent her early years in India. She studied at Glasgow School of Art, Scotland, and has lived and worked in Glasgow through her career, and has played an important role in the cultural life of that city and beyond.

This new monograph reproduces over forty of her paintings and, for the first time, a significant number of drawings. Specially commissioned texts by curator Lynda Morris and art critic Moira Jeffrey discuss Rhodes’s work in the context of her biography and cultural background, and examine its place and importance in contemporary art. Jeffrey writes,

Rhodes’s life beyond painting has sometimes been one of political activism... In the studio, her distinction has been to produce a kind of painting that is open and empathetic, alert to the clamour and conundrums of the outside world yet true to her private and sometimes unstated interests. Her paintings suggest that the studio is a place of possibilities... where the tension between freedom of ideas and the inevitable limits of the head, the hand and the materials, might be generative rather than didactic; and conversational rather than declamatory.

The monograph also includes an interview with Rhodes by gallerist and curator Andrew Mummery. Rhodes’s thoughts about her art have rarely appeared in print before and their inclusion here will be especially valuable. As well as the full-page plates, archival and documentary photographs accompany the texts, chronology, exhibition history and bibliography sections. The book provides the most comprehensive overview of Rhodes’s work yet available, and will be a standard reference work on the artist.