ELEANOR BARTLETT

11 December 2020 – 6 January 2021

IMG_9438gs.jpg

 

Mater 1

Tar on prepared board

244x184cm / 2020

IMG_9460mater3.jpg

 

Mater 2

Tar on prepared board

244x122cm / 2020

IMG_9461mater2.jpg

 

Mater 3

Tar on prepared board

244x122cm / 2020

eleanormaterroom1IMG_9458gs.jpg
room1and2gs.jpg
pivotgs.jpg

 

Pivot

Tar on prepared board + wax on prepared board

244x244cm / 2020

pivotangle.jpg
IMG_9471blackmass 2.jpg

 

Black Mass 1

Tar on prepared canvas

225x110cm / 2020

IMG_9472blackmass1.jpg

 

Black Mass 2

Tar on prepared canvas

221x115cm / 2020

IMG_9469room2installshotgs.jpg
IMG_9480tablet leftsidegs.jpg

 

Tablet 1

Wax on wood frame

76x62cm / 2020

IMG_9478tabletmiddlewallgs.jpg

 

Tablet 2

Wax on wood frame

76x62cm / 2020

IMG_9481tab3gs.jpg

 

Tablet 3

Wax on wood frame

76x62cm / 2020

IMG_9473room3installshotgs.jpg

Text by Chris Shaw

 

The studio at the top of Eleanor Bartlett's garden allows her to make large paintings. There is also a basic stone shed nearer the house for working on wooden boards and three dimensional objects. A painting begins with the preparation of the support which consists of constructing a wooden frame and sizing and priming canvas. This helps Bartlett establish an understanding of the boundaries, size and possibilities of the painting.

 

She uses heavy, industrial materials: tar and metal paint, chosen for their workman-like qualities. She also uses wax. These materials are part of the fabric of everyday life and they form the foundations of her subject matter. Bartlett's preoccupations are universal in scope. The world as a construct of perception frames her thinking and problems to do with the nearness of the void pervade her work. Materials, she says, should possess the power to persuade without recourse to explanation.

 

Painting as object, negating the idea of representation, is the unsettling terrain Bartlett leaves us in.