Beyond the Grave Gordon Cheung / Annie Kevans / Hugh
Mendes
Painting Power, Painting
Death Text by Craig
Burnett
Sartorial Contemporary Art
Feb 8 - Mar 7 2005
Opening
Times: Tues - Fri 1:30-6:30pm
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Gordon Cheung's
portraits from Forbes magazine's list of Top-Earning Dead
Celebrities' entertainers who continue to rake in the cash
from beyond their graves convey a similar mix of dread and
fascination. The fact that these corpses live on as money
machines seems like an infuriating waste some heir or
copyright holder is benefiting from this strange combination
of consumerism and necrophilia. Painted in hazy, halo-like
sprays of pigment in lurid, sci-fi colours on old copies of
the flesh-toned Financial Times , these portraits
seem to exist on an alternative planet where taste and
morality fled for the world next door. |
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Gordon Cheung.'Top-Earning Dead
Celebrities (John Lennon) 2006, mixed
media |
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Annie Kevans' series of
boyhood portraits of history's more notorious dictators invite
us to wonder what went wrong along the path to manhood.
Presumably, these men all began life as the same sweet,
saucer-eyed boys in need of a cuddle from time to time. Did
they choose their fate or did something incomprehensible lead
them to a life of supreme nastiness? Kevans paints with
delicate washes and soft, fleshy tones to suggest that
something fundamental might be at work, as if evil were an
ever-present thing, inhabiting lives almost at random. In her
new work, she continues to explore the strangeness of fate
through portraits of history's more unlucky or unsavory
characters. |
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Annie Kevans 'Arafat' 2006,
oil on paper |
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Hugh Mendes has been painting
scraps of obituaries over the past few years, a process that
began soon after the death of his own father. Obituaries
condense a life into a few column inches and a single image
a scrap of newsprint that becomes a heavy token, a small part
for the whole that ricochets somewhere in the eternity of our
collective memory. Mendes creates something like an icon from
these everyday events, a small, powerful painting that glows
with concentrated melancholy and beauty.
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Hugh Mendes
'Obituary: George Best' 2006, oil on linen |
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'Let death and exile and
everything that is terrible appear before your eyes every day,
especially death; and you will never have anything
contemptible in your thoughts or crave anything excessively.'
Epictetus, The Handbook.
Power, money and death seem to
inhabit a world beyond the ken of everyday life, provoking
horror and fascination in equal measure. Though we all might
pine for a taste of wealth and omnipotence from time to time,
the rich and powerful smack of evil, as if success stripped
the over-ambitious of their souls. Saddam Hussein, Elvis
Presley, Bill Gates and even Andy Warhol have all achieved
some level of immortality, and for that they have become
objects of both contempt and desire. A dictator, a rock star,
an entrepreneur and an artist make a strange group, but all of
these guys seem to have licked life's great inevitable, and
that makes them both obscene and irresistible. It's an
illusion, of course everyone's the same heap of worm-nibbled
bones in the end. Yet religion and celebrity have a knack of
generating great piles of gold and power because we have never
learned to cope with our own mortality.
So what's a humble
painter to do? Hugh Mendes, Gordon Cheung and Annie Kevans
create portraits that create a bridge, however tentative,
between the intimacy of one life and the vast impersonality of
death.
Our mortality remains a
steadfast wound on our hearts. Annie Kevans, Hugh Mendes and
Gordon Cheung forge small objects of beauty and longing from
this incurable ache.
Craig
Burnett | |
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