Richard Patterson, one of the YBAs to emerge in the late 1980’s, has only been seen occasionally in the UK since his move to the US. Visitors to the Timothy Taylor Gallery can see an overview of Patterson’s paintings over the past 15 years, Patterson’s paintings run the gamut of symbolic and cultural referents, from European art history to Japanese trucks, from Dallas Cowboy cheerleaders to Greek myth. Each painting for Patterson is a chance to engage with techniques and effect, but also on a philosophical level to make complex interconnections of meaning, image and making.

On show until June 1st. For more info, please visit the Timothy Taylor Gallery.

18th Apr – 15th Jun 2013

Lisa Yuskavage’s new paintings, on show at the Greengrassi Gallery, feature her signature curvaceous and curious female figures, harvesting the fresh, green landscapes by day and surviving the bleak darkness by night. The female figures owe something to the strong female workers of communist party propaganda posters, whilst their curvier form removes the overt strength from the references. Continue reading “Lisa Yuskavage at the Greengrassi Gallery, London” →

Arhat, which derives its name from the ancient language of Sanskrit, translates to ‘a being who has achieved a state of enlightenment.’ On show will be large paintings, whose source imagery is drawn from an ancient tale of Buddhist monks confronting decay and death. Demonic monsters and decrepit monks in traditional robes and paraphernalia wander psychedelic landscapes. Standing tall and center amongst these large paintings will be a monumental new sculpture depicting a massive skull enveloped in flames, whose antecedents can be found in Buddhist statuary located in temples throughout Japan. The show also contains Murakami’s optimistic and bright, smiling flower faces with his dark and brooding skull imagery and self-portraits featuring Murakami and his beloved dog ‘Pom’.

Via Hi-Fructose

Whiteread’s sculpture is predicated on casting procedures, and the traces left on the sacrificial objects and spaces from which the final inverse form is derived. She casts from everyday objects as well as from the space beneath or around furniture and architecture, using single materials such as rubber, dental plaster, and resin to record every nuance.  Detached 1, Detached 2, and Detached 3 (2012) render the empty interior of a garden shed in concrete and steel. Cast from generic wooden sheds, the large-scale sculptures render negative space into solid form, and the prosaic into something fantastically disquieting.

On show at the Gagosian until May 25th 2013