Kes Richardson ‘Passengers through the Badlands’ – POSTPONED UNTIL SPRING 2021
Exhibition: POSTPONED UNTIL SPRING 2021 DUE TO LOCKDOWN pt2
Private View: TBC
Mowed Jethro’s lawn t’other day. Heller watercolour collection, you. Grass has gone now. African bush, shorn. Red dragon. Red seal. Men in grey suits. Neoprene and salt. UKIP boarded up. Country back. County back. Back country. Back lane past Egloskerry. Eggs on cherry. Hold back Molly. Cavalcade of pas’ies up Ginsters last night. Right pile up just off the A30. Battle of San Romano. Skate Rag twat cap. Peaked before MAGA, MCA (RIP), Meow Meow and megaLOLs. Out of towners. Coming over here. Comin’ up castle? Down park? Silly on psilocybin. Whose mouth is this anyway? Breathing chest of drawers. Breathless chest. Trapped in a phone box. Time lord. Reverse charges. Multiverses, sweaty backs and white horses. Liquid vision. Sensei floored in a puddle of piss. Golden section. Everything. Is. Connected. Grids. Negative space. Bacon. Barnecutt’s. Where does your skin end? Tintoretto’s long neck. Six foot arms. Passengers through the Badlands. Seagram’s are back Pete. Still fizzing
Auction House is pleased to announce Passengers Through the Badlands, a solo exhibition by Kes Richardson.
The artist grew up near Launceston in east Cornwall and studied in Falmouth. Although regularly returning to visit friends and family he has now lived in London for longer than he did in the county. This gives a particular, removed perspective but also one imbued with nostalgia of formative years crucial to experience and development, both personally and in relation to painting.
In the first solo presentation of his work in Cornwall Richardson displays three oversized paintings in acrylic on heavy PVC derived from small marker pen studies on paper. He sees the paintings as belligerent interlopers, gurning (self?) portraits of sorts whose hurried forms shift in and out of assemblage; transitory in time and space. A peaked cap adorns each head; a reoccurring motif that serves as a pictorial wayfinder and is a referent to the headwear welded to the artist’s skull as a young teenager.
Kes Richardson b. 1976, lives and works in London.
Solo exhibitions include Spoiler at Ridgeway Road, London; Droor’ngs and Fair Game at FOLD gallery, London. Group exhibitions include Bad Actors at Karst, Plymouth; Notes on Painting II, The Koppel Project Central, London; The Inhuman/difficult transition/, Thames-side Studios Gallery, London; Painting & Structure, Kennington Residency, London; garten a.V., Frontviews Temporary, Berlin.
PV is on Friday 29 March, 6-9pm, which also happens to be the day we leave the EU.
There will be food and drink being served in the Buttermarket courtyard from Beats and Roots cafe (all veggie/vegan) and the event will be followed by a gig with @_shagrat_and @discorococo at @charliesbarcornwalljust down the road from 9:30pm.
Art, music, food, drink and togetherness so please come along.
In October last year mining historian Stephen Polglase led a field trip with Anthony Bryant through the mining landscape of Great Work and Tregonning Hill as part of the 2017 Cornwall Workshop, the fourth in a series of artist-led residential workshops organised by CAST. When asked how miners would prospect for tin, and how they knew when they had found it, he referred to a saying used by Cornish miners to describe the unpredictable nature of their hunt: ‘Where it is, there it is’.
The phrase resonated amongst the group of artists, curators and writers participating in the workshop, suggesting parallels with making art – an activity that involves intuition, knowledge, persistence, and something beyond definition. It lingered as the possible title for a collaborative project.
Where it is, there it is has been initiated by artists Liam Jolly and Rosanna Martin and will be the first exhibition at Auction House, Liam’s new project space, an old auction room near the train station in Redruth.
Participants in all the Cornwall Workshops held since 2011 are invited to contribute and each week a guest will respond to the material submitted. Where it is, there it is will present a range of things – some art, some not.