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Multicomplexificationalities
Saturday 23rd June 2007 – Saturday 21st July 2007 , 12:00am to 11:59pm
This year’s annual Bow Arts Trust exhibition, which opens to the public at East London’s Nunnery Gallery in Bow on Friday 22nd June, has been selected by curator and art writer Roy Exley. The show, entitled ‘Multicomplexificationalities’, features the work of fifteen artists picked from amongst over ninety members of the Bow Arts Trust, and will run for one month, closing on July 21st.
Multicomplexificationalities is an exhibition whose neologistic title expresses the range of complex and diverse art works shown here. The complexities of these works might reside in their making, their concepts, their interpretations, their connotations or their very fabric. It would be difficult and somewhat arbitrary to apply a theme to an exhibition of works sourced from one studio complex, however, somewhat fortuitously, the works here fell, somewhat organically, into three groups, each of which occupies one of the three rooms at the Nunnery. In the first space, there is an overriding, or underlying, human presence in all four of the works. In the second space visual and conceptual complexity is a feature of all the works. In the third space, the manipulation of light, or its effects, is a common theme. As an adjunct to this statement I need to add that simply because a work is not visually complex is not say that it is not complex per se.
Despite the recent upsurge in the popularity of painting it is probably very noticeable that only five of the artists of the fifteen involved in this show have used the medium of paint. This is the result of another conscious decision on Exley’s part — to be as inclusive as possible, and this strategy was greatly helped by the wide range of works that were viewed during the selection process. Consequently, media or techniques represented here include painting, drawing, collage, paper-cuts, sculpture, photography, DVD projection and installation.
There is a comprehensive discussion of the works in the show in Roy Exley’s essay in the exhibition catalogue.
