June 2003, Weds-Sun 12-6pm
New Inn Gallery
13 New Inn Yard, EC1
View – Monday 2nd June, 12-6pm
Private View – Wednesday 4th June, 6.30-9pm
of grandma’s scolding, of ‘dirty’ seaside postcards
and playground jokes, ‘rude’ pushes childish buttons and shares
with us a healthy smirk at the grown-up notions of proper behaviour. Less
comfortable is the ‘rude’ of ‘more than you needed to
know’ sexual story or the pimple-faced moony with trousers down
well below skinny white bum. This ‘rude’ is harder, attention-seeking
and makes us feel awkward. Another ‘rude’ treads a path between
these two, seeming to operate within the pale of a shared cultural language
that whispers seductively close to the ear. You can’t quite hear
what’s being said but the warmth on your lobes is inviting. Drawn
in with the promise of being pleasured, this ‘rude’ teases
but doesn’t lead to comfort.
Chalkley’s video pieces are based around his experience as a cross-dresser
named Dawn. Her conversations with people in transvestite clubs and bars
are not written down but spoken from memory. Communicated on relaxed and
intimate terms, the spectator is personally engaged in the dialogue in
an intrinsic manner.
With titles like ‘want it all’ and ‘in your eyes’,
these large scale paintings hold one cack hand out to the viewer. The
other is clenched in a montage aesthetic, middle finger poised with a
gestural expletive. Demanding an effort of attention that sees beyond
‘push me/pull me’ dualisms, these heterogeneously composed
scenes of human solitude and social interaction take destabilised subjectivity
Seemingly sensual and seductive, Kang’s photographs offer an unnatural
proximity to the human face, penetrating its physicality with a probing
unnatural eye. Aesthetically inviting, these close-ups compel the viewer
to feel simultaneously seduced and repulsed. Like the friend with a bad
sense of distance, these subjects are uncomfortably close.
Suggestively coloured paint masses are left to slide slowly over their
rectangular frames giving lie to familiar expectations of the medium and
to the angular hardness of its support. Bhanderi’s paint does not
look like paint and does not do what paint usually does. These seemingly
animate three dimensional forms look like good girls sexy knickers, soft,
very touchable and somehow reassuring.
Using DIY materials, Attridge turns charcoal drawings into unwieldy sculptures
on the make. Unashamedly half plant-half penis and rendered in undisguised
silicon and fibreglass, these vulgar forms declare their impolite passions.
Executed with brightly coloured, messy paint, Keenleyside’s gardens
and flowers are rescued from the comfortable associations of an idyllic
summer Sunday afternoon in the back garden. This take on nature reveals
a rural environment with a determination and force beyond human control,
wanton and lewd.
Enjoying the colours and suggestive potential of electrical tape, Grose
creates crudely made reproductions of consumer desirables. These objects
are easy and tough at the same time, pleasurably familiar but edgy with
the commentary they provide on an exhausted commodification.
Dargan’s small-scale narrative paintings tell painfully funny stories.
Like the near-miss humour of The Office or a joke cut too close to the
bone, these tales of laddish pranks and thwarted ambition are obsessive
testaments to the complexity of human desire.
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