Adriana Varejão

O Sedutor, 2004
Oil on Canvas 230 x 530 cm
Victoria Miro Gallery, London
10 October 2004

The show contained four of these immense, almost life size, paintings of tiled saunas and a number of smaller studies on paper that were framed behind glass. Each had a different monochrome theme and I have chosen the one painted in a variety of blues from tinged white to almost black. The blues themselves range from aqua with a lot of green, right through to almost lavender.

Although she has used a fairly heavy canvas, the weave on the surface isn’t prominent indicating that the surface must be heavily primed to get it flat. The process of painting is fundamental to the reading of meaning behind the work and I would say she has started with a dark red ground, perhaps burnt umber and then painted each tile individually. In light areas colours are not just tonally lighter, but slightly warmer. The paint is uniformly applied, but you can see brush marks when looking closely. There is definitely a glaze with the paint and some of the tiles look like two coats with the paler one underneath. This is left to show at the “tile” edges and helps the 3d illusion as do the edges of shadows’ which are subtlety blended over a small area. The other curious point is that all four of the large canvases had rounded corners; this isn’t easy to do and contradicts the rectangular tiles but I cannot guess the significance.

Whilst the use of the grids that constitute these works could hint at modernist aesthetics, her earlier work depicted fragments of tiled wall with rubble made of flesh bulging and bursting through the painted surface. This use of the tile as a recurrent motif refers to the azulejo, a square terracotta tile used continuously throughout Portugal’s history since the middle ages. Influenced over the years by Moors, Spanish, Oriental and Dutch artisans it was used for decoration in such far distant corners of Portugal’s empire as Brazil. So Varejão is invoking the colonial history of Brazil though the use of tiles albeit in a more subtle way in these Sauna paintings.

In these large scale trompe l’oeil paintings, the tiles have become simple, unadorned, abstract and minimalist, but the space the paintings describe is one of empty luxury, hard and cold. Whilst I find this non-space deeply melancholic on account of the implied solitude, that reading may be at variance with her conceptual impulse. In other words what I am reading as an impersonal modern skin of a contemporary “temple” for the body, she may be referencing the opulence of Portugal’s past fuelled by resources flowing from Brazil. Who is “The Seducer” of the title?

©blackdog 2021

Michael Simpson

Michael Simpson

Bench Number 59, 2000-05
Oil on canvas 244 x 534cm
The Tithe Barn, Bradford on Avon
September 2005

This is one of four related paintings exhibited in 2005 in Bradford on Avon. Psalm (Bench #54) and Prayer (Bench #55) at the Old Gas Works and Hymn (Bench #58) and Song (Bench #59) at the Tithe Barn. They are four paintings that form part of Simpson’s ongoing body of work that started in December 1989 and are known as bench paintings, each un-named but sequentially numbered. They are an ongoing homage to the Neapolitan philosopher Giordano Bruno, mutilated and burnt alive at the Campo di Fiore in Rome for heresy in 1600.

Bruno had written of an infinite universe which had left no room for that greater infinite conception which is called God. He could not conceive that God and nature could be separate and distinct entities as taught by Genesis, as taught by the Church and as even taught by Aristotle. Living in Venice in 1592 he was imprisoned and then sent to Rome where he was questioned and tortured in a papal prison and finally judged a heretic. A sensitive, imaginative poet, fired with the enthusiasm of a vision of a larger universe he was martyred not for politics, but for his scientific thinking being ahead of his time.

The use of the bench as a motif can be seen as a metaphor for Bruno’s time spent waiting in prison for his fate to be decided but also a place where justice and injustice are administered. Apart from the very first bench painting none of the works have any figures in them and over time they have become more austere. This series of four perhaps relate directly to the Church and by inference atrocities committed in the name of God. The elements in the painting are few; apart from the bench itself, the division of the space into shallow foreground and wall the other two elements are the ventilation grids below the bench and a church notice board in the upper right hand corner. Psalm (Bench #54) and Hymn (Bench #58) have specific collections of uplifting spiritual works listed on the notice board. Prayer (Bench #55) and Song (Bench #59) are blank. In a more chilling interpretation of the grids, I could see them as drains but perhaps my imagination is too active. They certainly help establish depth on the flat surface.

The most striking aspect of all of the works is their scale which is twice life size. This prevents the image being read as a window onto another world despite the illusion of depth that has been created. For me this anchors the paintings in reality and makes them an object of contemplation. In fact looking hard has its rewards too; gradually you note the making of the painting is evident. The subtle ribbing of the surface, the subsequent layers of ground colour stopping short of the perimeter edge (impossible to see in the reproduction) and the delicate glazes evoking the fall of light on the bench.

They are paintings that give expression to the idea of the dark, insolent and terrible power of belief, giving form and colour to the nonrepresentable. A very minimalist melancholic vision that was well suited to the exhibition venue.

©blackdog 2021