While across in Grosvenor Hill, Gargosian and Almine Rech have been showing two New York artists Todd Bienvenu and Jo Bradley, children of the 1970′s/1980′s, PACE in Burlington Gardens has been continuing the theme with two exhibitions, one after the other, the first being the Canadian artist Brent Wadden who, having been born in 1979, is a contemporary of Bienvenu and Bradley, but could not be more different, with the more recent exhibition being work by Richard Pousette-Dart, two generations earlier, having been born in 1919 and died in 1992.
Wadden is not a painter in the traditional sense; his work is created from stretching fibres across the canvasses, harking back – but in a contemporary, geometric and abstract way – to the folk crafts of his native country, but with such finesse that from a distance you would never know that they were not paintings. His exhibition ‘sympathetic resonance’ also reinforced a musical and acoustic connection, as any of you who watch ballet will understand, where the beauty of movement is amplified exponentially by the music. Art is not visual – it should embrace many senses.
Pousette-Dart is the elder statesman. What is fascinating about this exhibition is to see his work over several decades in three phases from the 1950′s to the 1990′s and how it changed over those years.
As always, I love the way the curators of the exhibitions at PACE arrange the works to reflect the architecture of the semi-industrial space with its cast iron columns and windows allowing light to flow in.