The recent show at Harrington Mill Studios gave one the rare opportunity to see work by two of the region’s more influential and talented artists, both practicing locally since at least the 1980’s but less often featuring in exhibitions outside Nottingham itself. In this show Gurminder Sikand focussed exclusively on black and white drawings that, although markedly different in content and style, rather effectively played out against the more experimental approach that Sardul Gill adopted in his selection of mixed media works.
Dying Star by Sardul Gill
To my eye it was the deliberation in Gurminder’s drawing technique that often complements as well as contrasts with the more organic marks that are very much the basis of Sardul’s pieces. That his work is also predominantly in black and white, occasionally augments by naturally occurring pigments, further adds to the resonances between their two bodies of work. Sardul talks of ‘a form of self-discovery’ whilst Gurminder suggests her process is ‘a journey’ – what is certain is that both artists are on a thoughtful, intelligent and ultimately rewarding voyage, both for themselves and the audience.
Mothering by Gurminder Sikand
Sikand’s work is focussed on “the social conditioning that forces women, especially, to look and behave in certain ways’ and this is effected through the use of the house as what she describes as a ‘carapace’ that whilst protecting and comforting is also a burden and a restriction. The juxtaposition of the building against the figures produces strong and powerful images that convey the metaphors most effectively. The stylistic manners put emphases on some elements and line is used simply elsewhere to offset the narratives.
Nature Print & Ink Drawing (2) by Sardul Gill
In Gill’s work nature itself is forced into action as both subject and method, although his subtle and thoughtful interventions steer the viewer throughout. His interests include cosmology and scientific theories with the resulting works revealing their structure slowly and exquisitely. The printmaker in him (he has many years experience in the medium) allows the lightest of touches in the methods deployed that include exposure to natural elemental processes that further assist in the revealing of the image. The painter Sean Scully has talked of painting as having “something of the nature of nature” and that is very evident in these works.
Sadly this show is now in the past but I’d advise anyone to seek out further exhibitions by these two in the future.
Jonathan Monk likes to make jokes…and he’s pretty unapologetic about it (take a look at Wool Piece II from 2014). Although pretty well known across Europe he’s less so over here. Much of his reputation rests on his insider art world jokes (witty commentaries on artists as diverse as Ed Ruscha, Bruce Nauman, Mark Rothko etc.). As he was born in the city and studied at the Leicester Poly back in the eighties it’s not inappropriate he’s back at De Montfort’s new gallery space with a solo show titled The Sound of Laughter isn’t Necessarily Funny. Quite.
First the rather lovely space has been sparingly populated…five pieces in fact. The centrepiece is a work that betokens the other main direction for his activity, a more serious and intimate personal reflection on his own life and family rather than those insider art world jokes that made his name. This other strand of his earlier work is writ large here. It comprises an elegant mechanical piano that plays a musical score ‘created’ by his mother cleaning the piano at home and the beautifully notated sheet music sitting on its stand is quite affecting and poignant. It looks magnificent in the space with the sunlight streaming in, pointing up the dust that necessitates the regular process of cleaning. Away towards the darker corner of the gallery a Grandfather clock faces off against a Grandmother clock, the time on each slightly asynchronous with the internal workings partially exposed. Adjacent to this a small cuddly toy, dismembered and missing a limb or two, is embalmed in a perspex box forever locked in almost imperceptible rocking motion between repose and upright, operated it would seem by an overelaborated atomic clock device that sits beneath it. Away to the far side of the space facing out onto the campus is a self portrait bust of the artist himself…one of a series where he invited prominent artists (initially from the Art Povera movement) to use a specially chosen hammer to smash off his nose. Here it’s the post pop conceptualist Maurizio Cattelan (or perhaps, famously, his stand-in) who has done the honours.
Senza Titulo 1, 2012, Jesmonite bust with nose broken by John Baldessari
So the theme is, appropriately enough, a kind of family reminiscence, grandparents, parents, perhaps the infant artist or siblings and a self portrait…accompanied by a riff on his students days with a small lightbox mounted high on a wall opposite the portrait bust of the artist’s hand holding a picture of Steven Morrissey (The Smiths) – a band he has referenced before in his work. It is all too easy to dismiss Monk’s work as just more ‘stuffism’ but that misses the quiet symbolism that lurks here. Whilst much of the riffing on art pieces that many of even a relatively informed audience might struggle to identify these works that explore familial relationships, test our notions of nostalgia and ultimately cross convincingly from the personal to the universal have both elegance and depth.