The Hannah Barry Gallery presents in their London space a new show of British artist Henry Hudson, consisting a new cycle of four paintings, titled “Nothing Sticks to Nothing”. The show runs through March 16, 2019.“At once pastoral, psychedelic, crime scene, and psychogeography, the works will be shown at the gallery with a large-scale, custom-fitted Scagliola floor (imitation marble made of polished plaster mixed with glue and colored pigments) designed especially by the artist,” says the gallery introducing the show. The show would contribute its two cents to the trajectory of mixed media performances. “The installation will create a mise-en-scene in the space, providing a scenography and stage for a series of new performances traversing pop and classical music, dance, poetry, and theater,” adds the gallery.Here, in the exhibition, the paintings represent a conglomeration of methodologies where the artist has shaped a defined discourse working varied media, including sculpture, painting, etching, and performance. Henry Hudson has been celebrated for his radical usage of plasticine in his works rendering it a dominant painterly medium. Though it was originally chosen for its inexpensive market value, it has become more and more relevant for its theatrical and expressive form. “Hudson’s use of plasticine has become a vehicle for novel experiments in painterly technique and expression. That said, nothing sticks to nothing marks a conceptual, material, and emotional break with Hudson’s previous bodies of work (such as his ‘Hogarth’ scenes or ‘Jungle’ series), presenting large-scale works that are made using a combination of encaustic wax with his native plasticine,” adds the gallery.The title of the exhibition has been taken from Hudson’s twisted memorization and unique approach towards “I can connect / Nothing with nothing” — which is a defining line taken from “The Fire Sermon,” the third section of T. S. Eliot’s “The Waste Land” (1922). “Eliot’s words are spoken in reference to a melancholic, doomed, introspective, and fragmented human experience — it refers simultaneously to Shakespeare’s ‘King Lear,’ E.M. Forster’s ‘Howards End,’ and Eliot’s own ‘Murder in the Cathedral.’ The snowscapes of nothing sticks to nothing are a nod to Eliot’s metropolitan psychogeography, reconfigured in contemporary alpine terms. No less heady than any of Hudson’s work to date, it is clear that these paintings demonstrate a shift in mood and atmosphere drawn from the life of the artist himself, evoking a powerful and convivial meeting point that is both self-reflective and social,” adds the gallery.The show runs through March 16, 2019 at Hannah Barry Gallery, 4 Holly Grove, London, SE15 5DF.For details, visit: http://bit.ly/2A2hinw on the slideshow for a sneak peek at the artist’s works. http://bit.ly/2BwSDJ7 Louise Blouin
“Nothing Sticks to Nothing” by Henry Hudson at Hannah Barry Gallery, London
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