This exhibition aims to separate you from the over-saturated, technologically suffocating environment we live in and embrace human relationships, real life conversations and find humour in the mundane.
Ned Armstrong’s paintings are made through a prolonged to and fro of painting and erasure. The point of departure for the works is often a drawing or small painting that provides a linear structure from which to start a painting. Ned seeks to present the totality of the landscape in his work, taking influence from the early Modernists. This alphabet of shapes, colours and patterns Ned uses to explore the visual oddities in our surrondings.
Lily Ashley’s live performance will draw you in, away from the guarded opinions and judgements, the instincts to dislike, the conditioned act of staying away until invited closer.
Robert Badu narrates everyday life and the people that pass him by. His work allows him to be a silent bystander and reflect on his surroundings in an unfamiliar environment. Badu’s describes life, “like a forest, when seen from far it looks like a disjointed chaos but as you get close you realise that each tree is isolated from the other, and each has its own story to tell.” His work appears like an endless maze that is hard to decipher but as one looks closer you see the colourful complexity in his work. He invites you to produce your own definition on humanity.
Daisy Dickinson exhibits a video installation, located upstairs, that uses sound and light to lull viewers into a calm trance.
Jessica Illsley explores the relationship between observation and expression, in the hope of achieving a feeling of life, vibrancy, and nature within her work. In this show she exhibits a series of collage works and figurative paintings.
Christabel MacGreevy explores the ideas of feminine sexuality in its most basic form, through feeling a woman has, rather than the over theorised ideas we are told. She also uses embroidery, highlighting its female tradition and using the medium to tell stories in a both decorative and subversive way.
Ivo Morrison’s work reflects his confusion with the absence of narrative in contemporary painting. He originally intended solely to write, believing it would best serve his desire to tell stories, only in 2014 did he begin to work in a visual medium. The central idea of his work is the exploration of mystery. The three paintings exhibited in Fourth are part of a series exploring the nature of solitude. ‘Como,’ the most explicitly auto-biographical was painted in the immediate aftermath of the disintegration of a relationship and examines the possibility of solitude within the bounds of a romantic context.
‘Buffalo’ considers the solitude of the working life of an artist, “I mean, the figures on the beach have kind of the same job I do, a repetitive and seemingly infinite labour, but importantly it’s not a lone figure because I always have my desire to tell these stories to keep me company.”
‘Solo’ investigates a particular sense of isolation that is only felt when surrounded by people. He explains the title, stating, “In Italian there is no distinction between the words alone and lonely. It’s just solo. I suppose for me this painting is just about that distinction and the question of how much we would recognise there being one if there was just one word for both. But I want to make it clear that these kind of questions are just where I jump in at the beginning, that might not be what ends up on the wall and I hope I’m not prescriptive, every real interpretation by the viewer is just as valid as mine, that’s why I get nervous telling people this stuff, don’t read, just look at it.”
Paloma Proudfoot’s work takes as its starting point the handheld or wearable object, whether that be a mantelpiece heirloom, eggs in the fridge, or the accoutrements of a sport. Her work looks at how these articles of life tell the stories of the bodies they touch. The sculptures on display at Fourth are part of a series which will feature in Proudfoot’s Edinburgh Arts Festival commission ‘Made to be Broken’, a collaboration with choreographer Aniela Piasecka and martial artist Jamie Robson. Over the duration of this month-long show, the installation of these ceramics will morph and collapse as Piasecka and Robson interact with them as the apparatus of their performance.
Joe Sweeney’s work feeds off the habitual and the mundane. He traces life through jaded, no thrills, common spaces like London’s markets. His current series explores life and its actions through food imagery. Sweeney’s work maintains a sense of
slapstick humour and invites us to stop and appreciate the noise.
Orfeo Tagiuri’s artwork are mythological in their approach. That is to say, they take subjects that are universally familiar and craft simple narratives. He hopes to generate a space where we can begin to orient ourselves in a world that is increasingly
complex. His work aims to bring comfort rather than adding to the confusion.