Tuesday, September 13, 2011

"...and Hammond said 'let there be light' " (revision)

In yet another impressive solo exhibition, Jane Hammond presents a shimmering series of photographs and paintings that bring life to the walls of the Galerie Lelong Gallery.

Light Now: Dazzle Paintings and Photographs showcases a dozen paintings each of which portray a specific photographic event. Hammond’s use of an eclectic range of lustrous materials such as shreds of silver, gold, and copper leaves alongside with mica and Plexiglas enhance her aesthetical design tonally and compositionally. The combination of illuminous materials coupled with Hammond’s photographic-like compositions are all painted on Plexiglas, affording each painting a delicately precious quality that render her subject matters both divine and mysterious. Similarly to Hammond's black and white photographic collages, the juxtaposition between her thematic serenity and the unconventional usage of industrial mediums, attribute to the ominousness within such works as children climbing precariously in Jungle Gym, and Carry Me depicting a child staring solemnly beyond the picture frame as she is carried by a male guardian. One exemplary painting titled Nude with Wallpaper conveys strongly the artist’s acute sensitivity to material as a mundanely traditional rendering of a figure slouching carelessly on a chair is unconventionally rendered with gold and copper leaves articulating naturalistic light and shadows. The mesmerising effect of the blotchy acrylic paint on Plexiglas layered on the brilliant radiance of Hammond’s industrious mediums articulate quite glowingly the artist’s fondness for ethereal tactility.

The unconventional application of Hammond’s paints, plastics, and metals strongly testifies to her versatility to combine and create conventional compositions out of anything, and seemingly, everything.


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  2. The illustrative and captivating words such as "refreshingly shimmering", "lustrous materials" and "mystique brightening", through which the material aspects of Jane Hammond’s works are described, persuade us to take part in this visual experience.

    However, despite the fact that the different elements of Hammond’s work are fully defined, a deeper analysis of its iconographic approaches is necessary for a more comprehensive view of the exhibition’s argument. I would suggest a further explanation of what is conveyed by following the sentence "(…) as they are awed by what has been used, rather than what is being depicted".

    Also could be interesting to point out some reflections about the relation established between the photographs and paintings exhibited.

    Concerning to the essay’s structure, I would say that the introduction is clear and concise and works very well. Maybe the conclusion could be a little bit longer, but in general I think it is a great job.

  3. I have done a somewhat thorough editing of this article. I will be sending that to you privately as I took a screen shot and made a set of mark ups on an image, so that you can see where and what is marked.

    In terms of the content of your review, I think you are relying far too much on over embellished description. I sense your passion for this artist's work, but in your exuberance you have forgotten to be concise and comprehensible. This is addressed a little more in the notes I'll be sending you.

    You also fail to address the subject matter of any of the paintings or photographs. You describe it somewhat, but you don't actually provide any concrete information on what it is you are describing. I would have liked to read something about the artist herself or any information that the gallery provides on the artist and her work. I also think you could have described the technical process of her works a little better. Much of your review depends on the perception of the physical features of the work, and as such it would have been nice to have read a more thorough explanation on the construction of her painted works.

  4. You definitely described what the pieces were made of but neglected to spend more time describing the subject matter and the artist's intent in a explicative and reviewing manner. What worked and what didn't work for you as a reviewer and artist? It had to have been more than liking the materials used. In reading this I wanted to hear more of your voice in critiquing the exhibition and the pieces themselves within the gallery. Maybe you could have touched on how the pieces were hung or curated?
    Consider rewording the third sentence without the word "aesthetical", I'm pretty sure that isn't a word, maybe use "aesthetic design"? How are the compositions "photographic-like"? Explain more about the pieces and the subject matter within them. Describe more about how the paintings on plexiglas are divine and mysterious to you.