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Marq Kearey
Viginia Nimarkoh
Johannes Phokela
Yinka Shonibare

The paintings of Marq Kearey are the accumulative evidence of a repetitive journey. Over a two year period Marq photographed every advert en route from his house to his studio. From these photographs he makes charcoal drawings and transforms them into collaged paper paintings. Grouped together these paintings reconstruct that feeling of passing by; glimpsing half-noticed, partially remembered, disposable, visual information.

Some images are given to Viginia Nimarkoh, some are found. Alongside these found and familiar, often family album photographs she places her own 'reconstructed' photographs. Together they appear like life-long partners, similar but different, separated by time and context. Each image bears witness to its age, whether through the fashion style of its sitter or the actual physical quality of the photograph itself. Between Nimarkoh's comparative works she draws our attention to the fine details that shift backwards and forwards from the artifice to the original.

For many of us, access to the works of the 'great masters' of western art; Rubens, Rembrandt, Michelangelo, is a second-hand experience seen via magazine and book reproduction. Johannes Phokela photocopies these kind of reproductions, mainly of damaged renaissance paintings, and then works from these copies to created his own cherubesque paintings. Through this elaborate process, Phokela manages to retrieve a very sensual and humourous corporeality.

Yinka Shonibare
re-fashions the idea of 'originality' and 'authenticity' with an abundant criss-crossing of visual quotation marks. Through the use of popular printed African textile, Shonibare challenges our assumptions about 'ethnicity'. The 'African' fabrics he uses are made in Europe - as well as being sold to a home market they are exported back to Africa. The presence of Shonibare's highly formal, yet often flamboyant, installations makes reference to the iconic status of certain modernist artists to a post-minimalist generation.


Original curated by Sonia Boyce, was the second response to Africa '95 by Gasworks.