Stunning Mix in Fringe Basement
It shouldn't be a surprise, but the collaboration between RAG and the Contemporary Gallery has resulted in a stunning show in the Brighton Fringe Basement.
There must be about thirty artists exhibiting, representing everything from painting and printmaking to video and installation.
Superficially, the exhibition seems a bit grim - perhaps inspired by the dark, mysterious and dusty basement setting.
There's a pit full of crime novels, surrounded by 'Crime Scene' tape, a derelict doll's house which seems to be the scene of a murder, and a crowd of tiny, dark-robed figures advancing on visistors from a long, black passage. The latter two are, incidentally, by the same artist, Natalie Martin. Wouldn't want to meet her down a dark alley at night ...
Other mysterious works include a row of dead babies (I think the weakest work in the show, particularly shown next to some really stunning paintings by the same artist) and Caroline Brown's "Tender Ghosts" painting, which includes a shadowy drawing of her mother's wedding dress.
There's a strong urban theme, too. Three paintings by Tracey Thompson stand out, and with the graffiti printed in their background reflected in graffiti on the walls of the venue are perfect for the venue. Belinda Stephenson's abstracts, and a pair of paintings by Natalie Green, are perfectly at home here. And Steve Carroll's digital illustrations could have featured in last year's Pop exhibition at the same venue.
While the main room is dominated by painting, prints and some 3D work, the back half of the basement, a warren of small rooms, is taken over by video, photography, and installation.
An ultra violet painting, which disappears under bright light as you step close, is an interesting idea. Three photo prints by Angela Sascha, dominate much of the back room space, and - stongly lit in red, white and blue - continue the lighting theme. A collection of hanging origami birds offer contrast; completely unlit, they haunt their space.
Two video pieces, including a strong installation by Ingrid Plum; a large abstract by Debbie Zoutewelle (probably the only painting in the show which could stand its ground against the installations); and Natalie Martin's tiny figures complete the line-up in these spaces.
Back in the main room, there's more work than you could throw a whole gaggle of art critics at, so I'll make no attempt to list every work or artist. Just a couple to make sure you don't miss; Christine Forbe's delicate installation of drawings in the exhibition's shop, and one of the four videos in a Nathan Bean retrospective loop, in which an unseen assistant hurls hearts at the artist's head. Worth waiting for.
Overall, a stunning show which really deserves the cliched "one not to be missed" tag. Go see.
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