LIDO is pleased to announce Day Trip to St. Leonards-on-Sea, a new exhibition by Nadine Feinson and Dylan Shipton. Though markedly different in the way they conceive, execute and install their works, both artists fundamentally resist a state of completion in their work. Instead both artists have developed ways of working which allow their paintings and sculpture to remain adaptive and live.
Nadine Feinson’s work is concerned with the experience of painting in duration – an extended temporality, in which painting can be understood as in motion, despite its material fixity. The material conditions of appearance, at the surface of the painting are central to Feinson’s practice. Recent work redeploys these concerns through paintings on unstretched canvas, which leave the studio without the structure or solidity that a frame would usually provide. These mutable surfaces, then, refuse to behave as is customary for painting and instead are free to be hitched or folded across themselves, concealing areas and allowing new forms and compositions to emerge. A painting might be installed in a number of exhibitions, each time refigured in the gallery space; sometimes the installation is delegated as an extension of the act of making.
Dylan Shipton uses DIY timber, plasterboard and hazard tapes to build stand-alone structures or structures which relate to, and sit within specific rooms. Relying on the given colour of his chosen materials, he works on a scale and with a rhythm that allows his surfaces to echo the immersive nature of hard edge and colour field abstraction. Growing without premeditated design, these works tend to become a space within a space and in parts conceal and accentuate the features and characteristics of a room. Given the provisional nature of their construction, any impression of bombast is undercut by their physical uncertainty. For LIDO, Shipton has taken as his starting point the archway in the space, playing visual games with its former functionality and its now more decorative nature.
This is the first time the reactive works of Feinson and Shipton have been installed together. In preparation for Day Trip to St. Leonards-on-Seathey began a correspondence over working methods that developed into a conversation-cum-wrestling bout within the gallery in the 3 weeks before the exhibition opening.
Extending the limits of their exhibition, Feinson and Shipton invited artist Claire Makhlouf Carter to contribute a new work. Through email correspondence with the two artists, Carter decided toutilise an advertisement in an art journal, inserting a textual artwork into the public announcement of the exhibition. The advert offers the reader a ticket (obtained by emailing firstname.lastname@example.org) which enters the recipient into a draw. The holder of the winning ticket, to be pulled from a tombola drum during the opening, receives Carter’s artist’s fee. Carter’sinsertion offers an event within an event, and problematises and extends relations between the visitor, artwork, gallery and documentation through the interruption of the expected norms of gallery marketing and labour.
The draw takes place at 7pm on Saturday 16th July.