Inspired by Roy Fisher’s poem Mouth-Talk, a dialogue made from the world of feature films, Happy The World So Made was an exhibition that celebrated contrasting approaches to ways of making in painting, and how that contributed to the pictorial value of painting.
Following her successful shows at The Lowry Centre and in Santa Monica, Jerwood Painting Prize nominee Carol Rhodes showed small landscape paintings of fictitious places. John Moores winner Dan Hays contributed small landscape paintings taken from photographs of the Colorado landscape found on the website of ‘another’ Dan Hays.
Richard Walker showed small paintings about a sense of displacement, completed during a recent residency at Berwick Gymnasium, and Michael Crowther included curious paintings of flowers and shrimps that echo human presence. Fred Crayk’s paintings excavated the female form, addressing isolation, tenderness and voyeurism, and Marcus Harvey showed large paintings around the theme of sex, prior to his one-person show later in the year in New York.
Duncan Higgins included paintings of heads that depict the interference of their digitally manipulated source, Mali Morris’s abstract paintings explored colour and gesture, in contrast to the grid paintings by John Hooper, which employed chess strategies in their making.