Two hundred and eighty four

Full-Scale

2011 by Matt Calderwood
Wilkinson Gallery until 2 October 2011

Calderwood’s new exhibition at Wilkinson is remarkably and harmoniously monotone compared to some of his other work. With no hint of colour or unexplained abstraction, one is guided through the exhibition with the precision and reassurance of straight lines and measured angles. Playing across the floor and walls, between the realms of two and three-dimensionality, is Calderwood’s sculpture and painting. Drawn like diagrams, in black gloss divided by careful lines, the paintings and ink drawings are hung on the walls unframed giving them the spontaneity and creativity of initial designs. This studio-like atmosphere is then carried on by the sculpture itself, which appears almost to represent these static designs in the bulk of three-dimensionality. Whether the painting and sculpture matches exactly is unimportant; the ties between these two mediums are concrete, with their strong angled arms that exude the exactness of calculation and the cool simplicity of its effect. Black is blocked out on white paper and white materialises in sculpture, creating a harmony of colour inversion and exchange. The movement and possibilities of these shapes is encouraged by the pieces the sculptures are made up of — a three-tiered cross with wings at each end is made up of three different arms, giving the creativity of building blocks. One feels as if they could take these designs apart, having a world of different possibilities for putting them back together.

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One response to “Two hundred and eighty four

  1. Pingback: Three hundred and six | postcardwall

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