Grier Edmundson's ‘Sometimes I am content’ is an effective combination of print and sculpture
- Talitha Kotzé
- 13 April 2011
There’s a new gallery in town. Located on Dixon Street, and overlooking the Clyde, Kendall Koppe’s gallery is situated in a beautifully converted space. The renovation acknowledges some of the interior’s original features in contrast to its sleek new walls and shiny new floor. Koppe, who previously headed Washington Garcia Gallery, will now represent four artists: Niall Macdonald, Ciara Phillips, Corin Sworn and Grier Edmundson. The inauguration showcases a solo exhibition by Edmundson.
We take our cue from a cubed mirror block precariously balanced on a corner, its three angles reflect, simultaneously, part wall, part painting, part floor. The walls have been lined with hand-printed wallpaper featuring a young Ronald Reagan as gunslinger in a Western before his time in the White House. The single iconic image is screenprinted on newsprint and repeated to form a monochromatic patterned backdrop against which a series of oil paintings are displayed. A lark is confronted with its own reflection, a sleeping boy in the hay has been replicated (twice) from an original work by Swiss realist painter Albert Anker. The theme here is of reconstruction and representation, but it is also about looking, perhaps spotting discrepancies, and the pleasing sensation of it all being well executed by this Memphis-born artist.
It is the juxtaposition and appropriation of familiar and obscure images that make Grier Edmundson’s work intriguing to look at. Here the repeated mass printed image takes a step out of the limelight. Rather the artist employs it as guide, an optical safety net, for us to experience the haptic qualities of the delicately painted works placed on top of it. Ultimately, the images in the show shed their responsibility as singular objects, and their repetition brings comfort, even contentment.
Kendall Koppe, Glasgow, until Sat 7 May.