The William Turner Gallery is pleased to present Strata, a group exhibition featuring works by Oliver Arms, James Hayward, Jimi Gleason and Andy Moses.
Oliver Arms’ oil paintings are an exercise in give and take. With a practice focused on the meditative effect of revealing and obscuring, Arms creates surfaces densely packed with color and form. Though their energies are reminiscent of Jackson Pollock’s expansive AbEx paintings, the technique Arms employs to create his sweeping compositions differs greatly. To make his paintings, Arms embarks upon laborious endeavors that last months - in an almost sculptural process, Arms repeatedly sands down and then builds back up layer upon layer of oil paint, constantly altering the structure of the painting.
Referring to his lush paintings as “monochrome abstractions,” James Hayward’s thickly impasto surfaces are made from layers of rhythmic marks often executed in a single brilliant color. Fascinated by the calligraphic brushstroke, Hayward evolved from making flat, single hued panels in the 1970s to his now signature impasto paintings after a visit to Japan in 1982. Interested in the idea of the egalitarian composition, Hayward asserts that, “in my monochromes I try to avoid there ever being a special place. There’s no chosen place. It’s totally proletariat, the marking. I want the corners to be as important as the center and I want every mark to be equal in terms of importance.” Championing a complete lack of representation, Hayward’s paintings are raw and sensual explorations into the essence of mark making.
Jimi Gleason’s newest paintings are otherworldly planes of undulating topographical texture enveloped by brilliant fields of airbrushed color. Gleason’s molten silver deposit surfaces are rugged and rich - some areas are scraped smooth, becoming highly reflective, while others ripple and crest like uncharted terrains. Prismatic visual structures emerge as the viewer moves around them, shifting in appearance as positions change and time passes. These enigmatic paintings are intended to be engaging spaces where color, form and light come together to interact in infinite combinations.
Gigantic, looming forms of psychedelic colors emerge and swirl across stratospheric backgrounds in Andy Moses’ dramatic new body of work, the Metamorph series. These monumental shapes appear to be frozen in flux, with swirling metallic veins of supernatural hues that threaten to flow over the edge at any moment. They seem to defy gravity, billowing upward like kaleidoscopic cumulus clouds. Moses has always been intrigued by mimicking the forces of nature vis a vis his artistic process - the Metamorph paintings continue that investigation with new vigor.