Hello, welcome back to the art channel. My name is Grace Adam, and this is my colleague Joshua white. This week we are reviewing mark wall, injures, exhibition it at Houser and worth which is in Savile Row central London.
So this gallery is entirely filled with the IDI paintings. This incredible big bossy display of black acrylic paintings, and I guess the first thing we think of we look at that. Ms, the Rorschach ink tests.
They are beautifully made. They are huge. They are kind of very primal and they are bilaterally symmetrical. So this one is so you can see, looks like a skull day of the dead. They're quite overwhelming paintings in a way it's.
The whole notion of the importance or Rorschach test used by psychologists for many decades to elicit some kind of response to determine one state of mind, and so Wallander is consciously and conceptually and have invoking that psychological test to ask us think about what do we read In the paintings, what can we extract from it by bringing our own subjective experience and feelings in emotions? And, of course, they're, rich and possibility? Oh, I think the way they may the way they're made and and their size is actually significant.
They're twice, the height of the artist an hour. His arm span his wingspan and that's very much about the way they're produced, one half being made with both halves of the body both hands and in they're flipped round and the other half is produced And he talks about dispensing with the paint Laden brush of the expressionist, so we're right back to cave painting.
He's using his hands to make these paintings. Well, I think there's, a tension because they suggest something very instinctual and crime on and gestural physically, but there's, also something quiet kind of premeditated yet about them that sort of invoking or simulating that idea of immediate city well.
At the same time, planning them and think it quite carefully about the resolving image I mean they very patently. I designed, as you say, to remind herself of various things and depending on our histories and our dreams and our fears they're, going to remind us of different things.
So in that way they are they're quite fun. I quite surrealist in a way, but they are very calculating, but I do think the way they're made is very seductive using acrylic and the like, just catching a surface that they rob beautiful.
Of course, they're, made by hand away. They have that kind of infantile luckiness, that sort of pleasure, discovering the world and sensation and touch, and he's using the hands and the fingerprints, as you said, dispensing with the brush.
So he's, really kind of sort of getting stuck in to this pigment, almost like original cave, paintings yeah, but he eludes difference and I think they work as a body of work as a collection. You have to be immersed in the middle of them.
The idea is, I think, that your eyes go from painting to painting and try and figure out, as you say, what you think they mean and what you think he was making. So they're. Very um they're very engaging, so we're, looking at ever since, which is made in 2012.
It's, a video projection on a two-second loop and that's, crucial because most of the image appears to be like a photograph, except with some detail that is animated and moving within that two-second loop.
The barber's. Pole the clock there on the wall in barber shop and he plates there in chrome that picks up the image of someone across the street. Looking at this frontage of a London barber shop, I think this is a really interesting piece of work because, as you say, when you come in, you are not quite sure how it's made, and what's happening? Is it still has it had pieces added? But, as you say, these tiny, tiny bits of movement of they really draw you in so it's, quite fascinating.
It's about Englishness identity, male grooming, it's, very old fashioned, which is is quite fashionable at the moment. So for me, it's, a it's, a kind of world that I don't know anything about, and I'm outside the shop.
Well, it's, sort of mirrors of idea of tradition and history, but actually it's. Quite I mean I know this is quite a new brand, but what is his interest here? Well, it concerns information, visual information and how it's conveyed and relate to us.
There's. Another aspect which I think it relates to time. You know within that 2 seconds without idea of progression, but then it reverses back on itself. So it's like caught in a literal loop in history, and I think it is again about a world it's about a particular identity, a way of forming identity.
Look at all the kind of instruments objects in the window. It's, it's, it's, a set of signs for a certain kind of life, a certain kind of activity which is very interesting, and I think it also touches on how we navigate the street and all of That information and detail that is available around us that we're picking up.
How do we distinguish between the significant and as it were, the Bernard and it's, all kind of as it were, sort of merging together within this image? It's, actually very busy. When you look at it, there is a stillness, obviously, but again coming back to this still life in the window.
It's, absolutely fascinating and it is. It is full of signifiers. We are in a gallery with a piece of work called super-ego which was made this year. It's very recent I was going to say, was standing beside it, but we're.
Not we're standing underneath it, and I think that's very significant. It's. A steel pole with this rotating mirrored object on the top, which may look familiar because it's, designed to mimic the sign outside of New Scotland Yard, which is really a logo or a brand in itself.
So this will be very familiar. What I think is significant for us is that we can't see ourselves, but we are being surveilled, it can see us absolutely and that surveillance is kind of intrinsic to it.
There is a backstory because he talks about having been beaten up during a demonstration against far-right in the mid-1980s and bleeding he goes to a police station. But there isn't any evidence caught on camera and in fact it's.
The police station across the gallery that he originally went to so it comes out of memory, but also after this morn sort of wider interest in the way in which we relate to Authority in the way. Also, that authority supervises us through these mechanisms.
I think when you do stand underneath it, you feel very small. You feel very insignificant and we are constantly watched in the UK. There are more CCTV cameras per capita than anywhere else in the world, so we are a nation being watched all of the time, but I think for me the interesting thing about it.
Is it's? Supreme minimalism is fantastic, or it furs back to all that Americans minimalism, but also it's. It's um I can't, see myself and mirrors are for looking in and that's. Quite an interesting aspect of it: it's, frustrating isn't it.
It denies the functionality of the mirrored glass and the reflection it's, sort of a tease, but we are remain out of reach from that function, but it's. It's, a creepy object, isn't. It sculpture implies power and authority, and that comes to the title: super-ego, which comes back again to Freud.
In theory, the super-ego is our conscience, the way in which we instilled with morality by the wider society so as much as we are programmed by the society culture around us so to the police, have a role in that kind of mirroring values and kind of implementing Those values it's almost as if we have out sourced that job.
We have allowed ourselves to be watched so that we behave that's quite interesting. Why don't just show is, is really strong. I think it plays into his fascination with the idea of identity of Englishness, the idea of self or perhaps different selves, and I think the way he's tackled it in a number of ways, makes it a really a rich show.
It's very eclectic, isn't it in the way in which he makes the world and stages it. It touches on really fundamental ideas of salford of identity of the subconscious, but also other concerns with authority and time and history and belonging, and I think it's very stylish.
I think it's, a very clever thing to tackle it in different ways. We have, we moved from cave painting it's, very quiet film. It's, a very minimal installation, and that makes you approach his ideas thoughtfully and carefully.
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