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Michael Craig-Martin

Surfacing

24.9. – 21.11.2004
Michael Craig-Martin: MK Gallery commissioned facade

Michael Craig-Martin: MK Gallery commissioned facade

Michael Craig-Martin In Conversation with Tony Godfrey

Michael Craig-Martin In Conversation with Tony Godfrey

Visitors to the Michael-Craig Martin exhibition at MK Gallery

Visitors to the Michael-Craig Martin exhibition at MK Gallery

Michael Craig-Martin with Andrzej Blonski at the exhibition preview

Michael Craig-Martin with Andrzej Blonski at the exhibition preview

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: MK Gallery commissioned facade
Michael Craig-Martin In Conversation with Tony Godfrey
Visitors to the Michael-Craig Martin exhibition at MK Gallery
Michael Craig-Martin with Andrzej Blonski at the exhibition preview
Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004
Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004
Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004
Michael Craig-Martin: Surfacing, Installation View, MK Gallery, 2004

Michael Craig-Martin: MK Gallery commissioned facade

Michael Craig-Martin: Surfacing

Fri 24 September - Sun 21 November 2004 

 

In the gallery Craig-Martin presented a selection of new work made specifically for the exhibition. Known for his sweeping, brightly coloured canvases that depict a repertoire of everyday objects, his art is one of maximum economy and maximum impact. Central to his work is the act of drawing and an investigation of line, space and form. Transcribing these images onto the painting’s surface using a distinctive black tape, the painted objects flicker between foreground and background, between line and image.

 

The everyday objects, invariably have a practical use; a drawer that opens, a chair to be sat on or a shoe awaiting its owner’s foot. All suggest a form of human interaction which is forever absent.

 

In an intriguing new departure, Craig-Martin showed works based on two major paintings in Western art history – Piero della Francesca’s The Flagellation (1452) and Georges Seurat’s The Bathers at Asnières (1884). Here he deconstructed and redrew them in order to create new paintings, replacing the original colour with his familiar vivid palette.

 

A striking new work that took the form of specially printed black and white wallpaper was also shown. This pull towards the domestic was echoed in the selection of images that erupted across the wall surface, such as chairs, light bulbs, and shoes. Colour was introduced through the placement of eleven smaller canvases that mapped the same motif as the wallpaper, and transformed the plane of the wall into a three-dimensional relief.

Related media and links

Press Release  PDF