I saw this exhibition recently and decided to write something about it and share with you. I do not write critiques, only when I was persuaded to do it in my younger years, by the editor of the London magazine Art’Rage. I am a viewer with written reactions and comments in a – Blog! This is not a critique. Very different from critiques, the art critic living daily with criticism, soon learn to condemn in the most subtle manner.
STANDING STILL – The Art of Portraiture – Eugene Palmer New Works – Wolverhampton Art Gallery – 18 February – 8 May 2023.
The Exhibition
Some of the world’s greatest visual arts are portraits, and their standards of excellence is a lot more than photographic likeness. A camera portrait recorded in a fraction of a second, even when we recognise the person portrayed, often lacks character, the vast range of body language, and the varying emotions visible in living real life.
In this case, even if the initial source of Eugene new works are from photographs, this does not detract from the sumptuous qualities of style, and the subtleties of applying paint on canvas. His approach to the work is more realistic than expressive. Under the title and banner of ‘Figurative Painting’ it’s an ancient foundation and tradition that have endured to contemporary times.
There was some anticipation with keen interest, to see how the artist Eugene Palmer new works sit within this field, the subject matter, with completion in outlook and style. Overall, it was a refreshing delight. There are the factors of composition, form, surface design, the balance of light and shade, that offers the optical illusion or impression of depth – three dimensions. Most of his paintings are without background or foreground.
Colour harmony and balance are evidenced in the show throughout, all in cool, calm, clean and comforting soft tones. After a short time in the exhibition space, its as if, the artist have simplified and modernised the techniques and traditions of the Old Masters in visual fine arts. No easy task! If this fact matters at all, nowadays.
The body of works on canvas, depicts portraits of inter-racial and inter-cultural families, gathering at a celebration of marriage. Style of dress and fabrics are outlined with finesse. The reunion of the family gathering is generational, from grandchildren to grandparents and everyone in between. The overall theme or social context, if one is needed, are the realities of contemporary living, lifestyles, inter-racial mixing, and visual hybrid of outcomes.
On the question of art in a public gallery, especially the visual arts, the works solicits and requires social awareness, and focused attention from an audience or single viewer. Even if it is only for the sake of ‘Eye Candy.’ For those looking and seeking meanings with understanding, from a multi-dimensional viewpoint, the comments above is the best way to view this exhibition.
There are no one defining meanings. Viewers bring with them their own knowledge and opinions to the work, that may or may not concur with the artist intentions. From my viewpoint all opinions are correct, there is no right or wrong way to perception. You see and understand what you see. Some people see very little, only paint on canvas. That’s ok!
My observations and opinions about the space are few, the dimensions of the images were not listed. The lighting, in the room with six large works, placed high above, shadows from the mount of the canvases, were visible on the walls. Also appearing to cause shadows from the 3D aspects of the images. Distracting I thought, maybe that can be overlooked, or I am looking and seeing too deeply. Go, see the show for yourself. The gallery is a welcoming space, with a fresh new tasty café.
The Artist
Here are a few words about Eugene Palmer, and I quote:
“I see my work as participating in a cultural discourse, which is to do with asking questions about art. At some level you could argue that the work has a social dimension. You could also argue that the way meaning is derived from the work is closer to poetry.”
Eugene Palmer was born in Kingston, Jamaica 1955, arrived and grew up in Birmingham, England 1966. After completing his Fine Art Training in a few educational institutions, both in Sutton and London. He returned to the West Midlands, teaching art at Wolverhampton university during the 1980s and early 1990s. He was also an active member of the Black Art movement in the UK.
Find out much more about Eugene Palmer at: edcrossfineart.com & a podcast talking with art journalist Bob Chaundry at: consideringart.com.