Two hundred and seventy four


2010 by REMED
The Pure Evil Gallery;

The Pure Evil Gallery has a wide selection of prints and a long list of artists; REMED had an exhibition with them back on 2010. With some prints clearly ‘evil’, in a skull and cross-bones fashion, REMED’s work is intriguingly surreal. With bold shapes floating, not quite held by the background of white, the composition appears as pieces of thought floating – very like Miro’s early work, bold colour abstracted on white. However REMED’s drawing is held together by a decipherable shape, a figure, that draws all these pieces to purpose. The head is beautifully clear, her profile in white, with Art Deco-like hair streaming backward in waves. Her front leg, strong in size and stance, is in line with the determination of the face, while the back leg, long and curvaceous, is poised for pushing the body forward. The power evident in these limbs and expressive face is not unlike Henry Moore’s early Modernist sculpture, which showed women to be large and basely beautiful through simple shape and strength. The abstracted breasts, two half-circles, are celebrated with the burning sun shape; they are symbolically feminine, yet escape any voyeurism or overt sexualisation in their simplicity. Various other symbols are scattered throughout, playing with ideas and association, while the light-hearted harlequin delights in colour, picking up the brightly hued shades from across the composition.


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