On View: Hurvin Anderson @ Ikon Gallery

 

Hurvin Anderson, Untitled (Red Flags), 2004, Oil on canvas, Private collection

Hurvin Anderson, Untitled (Red Flags), 2004, Oil on canvas, Private collection

Ikon Gallery will be presenting a comprehensive exhibition of Hurvin Anderson’s paintings from September 25th through November 10th in Birmingham, England. The exhibition, reporting back, is a survey of Hurvin’s career from 1998 through Peter’s Series (2007-9). Reporting back will consume Ikon’s entire exhibition space. Durham Press would like to congratulate Hurvin on this great retrospective.

Hurvin Anderson, Double Grille, 2008, Oil on Canvas, Collection of Janet de Botton

Hurvin Anderson, Double Grille, 2008, Oil on canvas, Collection of Janet de Botton

Hurvin Anderson, Peter’s 1, 2007, Oil on canvas, Government Art Collection

The Ikon Press Release: ” Anderson arrived on the international art scene with Peter’s Series, a number of paintings depicting the interiors of barbers’ shops, in particular one (owned by Peter) visited by Anderson with his father as a boy. A converted attic serving as an improvised salon for conversation as well as for cutting hair, this was a social retreat vital for many male members of the local Caribbean community; a place he equates to an English garden shed. By painting this subject, the artist was exploring a formative psychological moment, and by returning to it pictorially he takes us with him on a journey that is as sentimental as it is a faithful representation.

It is significant that often Anderson depicts sites of leisure, where the mind is usually free to wander. He talks often of being in one place “but actually thinking about another”, a fact of his life arising out of his cultural background. He grew up in the English Midlands preoccupied with visions of a warmer, more colourful ‘other country’ and from this experience has developed a way of seeing which he describes as “slightly outside of things”. Later paintings of the Caribbean embody this kind of perception with verdant green colour glimpsed behind close-up details of the fences and security grilles found in residential areas, or an expanse of water or desolate approach separating us, the viewer, from the point of interest in the centre ground. This method of composition signifies at once a kind of social and political segregation, a smartness with respect to the business of picture making, amounting to a kind of semi-detached apprehension of what Anderson encounters.

A major monograph illustrating works from across the artist’s career will be published to accompany the exhibition, including texts by Jennifer Higgie, writer and co-editor of Frieze.”