4 Windmill Street’s Inaugural Exhibition: The Harboured Guest.

Curated by Robin Foottit

25 October – 17 November

Grant Foster, White Intent (2012), acrylic on canvas, 54x40cm

Grant Foster, Untitled (love) (2012), acrylic and bleach on canvas, 90x70cm

Alex Crocker, Fuzzz War (2012), oil on linen, 56x46cm

Caroline Walker, Congregation (2012), oil on linen, 45 x 55cm

David Edwards, Seam (2012), C-type print, 127×101.6cm

Caroline Walker, Fan Dance (2012), oil on canvas, 50x60cm

Alex Crocker, Double Drum (2012), oil on linen, 56x46cm

David Edwards, Portmanteau (2012), C-type lambda print, 90.2×71.1cm

Erica Donovan, Winner’s Bag (2011), screen print on paper, edition of 10, 70x50cm

Erica Donovan, Winner’s Medal (2011), screen print on paper, edition of 10, 70x50cm

Erica Donovan, Winner’s Trophy (2011), screen print on paper, edition of 10, 70x50cm

Jamie Partridge, Foliage (2011), oil on linen, 61x41cm

Richard Baines, SURF ALL DAY RAGE ALL NIGHT (2011-2012), MDF, canvas, wax crayon, dimensions variable

Maya Ramsay, Incarceration (2012), surface from wall with cobwebs and coat rack, 61x81x12cm

Appau Jnr. Boakye-Yiadom, Symbol (2011), HD video, duration 15sec, edition of 5

Jamie Partridge, You think you understand something and it turns around and destroys you (2012), ink on paper, 32x24cm

Featuring recent works from: Richard Baines, Appau Jr. Boakye-Yiadom, Alex Crocker, Erica Donovan, David Edwards, Grant Foster, Jamie Partridge, Maya Ramsay & Caroline Walker.

Please e-mail art@4windmillstreet.com to inquire about availability and prices.

4 Windmill Street is proud to present its inaugural exhibition, The Harboured Guest – a collection of recent works that see a correlation between performance and function. Curated by artist Robin Footitt and avoiding the recent tropes of direct live event interaction, this subtle and suspenseful production is manifested through various media and forms of image creation – be it in terms of process, absence, or elaboration.

Human presence often manifests itself in the painted gesture, with the texture of surface and the fluidity of movement providing literal entry points to further investigation. Painted figures either embody such presence, or withdraw, becoming gestures in themselves – an idea confronted in the paintings of Alex Crocker, Grant Foster and Jamie Partridge. In Untitled (Love) [2012], for example, Foster bleaches a presence out of an acrylic ground. Caroline Walker also frequently takes the figure into an isolated interior, framed by what is present and, via her treatment of space, what is lacking. Congregation and Fan Dance [2012] fascinate in relation to human contact – both showing the formality within napkin folding for social preparation.

“Winner” is a statement across a series of works by printmaker Erica Donovan that uses London’s Olympic legacy as a point of departure. Ownership can also be read across canvas formers made by Richard Baines; an array of objects wrapped together and forming a collective abstract and seemingly undeveloped shape all under the same oval form, evoking Polynesian cartoon imagery from a Hawaiian surf brand either lost or found in the surface.

The removal of surface is also central to Maya Ramsay’s practice. Intercept Operator [2012] is part of a recent Bletchley Park series whereby Ramsay lifted the top surface of walls from buildings used by code breakers in WWII, capturing spider webs drawn across decades of disuse. Indeed, traces of function enter into the subjects – circus horses – of David Edwards’ photograph, Portmanteau [2012]. Finally, a flip in perspective results in a clash moment in Appau Junior Boakye-Yiadom’s video, Symbol [2011].