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|Medium||Collaged screenprint, watercolour and pencil on paper|
|Dimensions||29.3 x 20.9 cm|
About the work
For the 2019 Biennial I made the first Drawing for Gillian Wise in a tribute that now amounts to a series of fifteen. Since 2008 I have been in active dialogue with Wise and other members of these artists groups and at around the same time, I began adapting Wise’s pages from the 1972 Systems catalogue (Whitechapel Art Gallery) into grids used for my own drawing. Rather than appropriation, I consider this to be a method of re-presenting a radical approach to space and perception in ways that can find new audiences for my work and an insistent reminder of Wise’s visual acuity. The question this work addresses is that of how the act of remembering by bringing the under-known back to attention can also challenge and change canonical assumptions. Wise (1936 – 2020) is still in need of deeper consideration.
About the artist:
Born 1963 Gloucestershire, Andrew Bick lives and works in London. Graduated from BA (Hons) Painting, Department of Fine Arts, University of Reading (1986); and MA Painting, Chelsea School of Art (1988).
Bick’s works are executed from a combination of oil paint, marker pen, wax, acrylic paint and Perspex. The works play with elements of flat colour, depth and surface, revealing the process of painting as a series of strategies or components within the visual puzzle of the whole. Bick’s paintings call into question false opposites, and contrast hard geometric or blunt graphic forms with uncertain or dashed-out strokes or patches of scrubbed brushwork. Within the abstract geometry of his works, he combines matte and glossy surfaces, different textures, colour and ‘non-colour’. His work has been described as ‘gently disruptive and purposefully chaotic’.
His works are held in public and private collections including British Library; British Museum; Chelsea College of Art, Artists’ Book Library; Goldman Sachs; New York Public Library; University College London, Manuscripts and Rare Books Library; Victoria & Albert Museum; Annenbury Rare Book and Manuscript Library, University of Pennsylvania; Yale Center for British Art; GoMA; and Coleccion Ernesto Ventós Omedes.
Select solo exhibitions include Concrete-Disco-Systems, Hales Gallery, London (2019); gate/grid/tree/(notes/on/concrete), Von Bartha, Basel (2018); original/ghost/variety/shifted/double/echo, Museum Haus Konstruktiv, Zürich (2017); Conversation, Cornerstone Gallery, Liverpool Hope University, Liverpool (2015); School Studies: an architectural problem, Von Bartha Chesa, S-Chanf (2012-13); School Studies: Ghosts, Arguments, Hales Gallery, London (2012); School Studies: an architectural problem, INDEX, project space, Stroud (2012); and School Studies, recent work and selected work since 1993, Galerie Von Bartha, Basel (2012). Select group exhibitions include Drawing Biennial 2017, Drawing Room, London (2017); Contemporary British Abstract Painting, SE9 Container Gallery, London (2015); Suchness/Sosein, Raum X, London (2015); Las Geometrías Possibles, Galería Odalys, Madrid (2015); Drawing Biennial 2015, Drawing Room, London (2015); NOW-ISM: Abstraction Today, Pizzuti Collection, Columbus, Ohio (2014-15); Conversations around Marlow Moss, & Model, Leeds (2014); Structures/Strukturen: Britische und deutsche Malerei im Dialog/British and German Painting in Dialogue, Kunsthalle Wilhelmshaven (2014); and Slow Magic, The Bluecoat, Liverpool (2009).
Awards include Research Fellowship, Henry Moore Institute, Leeds (2007); Residency/verblijf Stichting Kunst & Complex, Rotterdam (1995); and Premio Internazionale Fiar (1992).