Haunch of Venison, Dec 2012



Over a century ago there existed the belief that by mimicking painting and closely embracing its values, the medium of photography could acquire artistic status, by association. There are still photographers happily maintaining a dialogue with 17th - 19th Century painting, but in a sense they may be the last generation motivated by an old insecurity, particularly as the tables have turned in recent years.

In fact it is the unique look of photographs, particularly vernacular images, that has come to be essential to mark as relevant the vision of old school artists who continue to work with brush in hand.

Isca Greenfield-Sanders shown at Haunch of Venison takes as her source material found photographs, with their peculiar combination of humble mundanity, technical failing and original user rejection. Her handling of the paint is fairly slight compared to established photo-based artists such as Gerhard Richter and Chuck Close (whose grid-marking method she employs in simpler form) and clearly rejects the hard-core photo-realism of the '60s of artists like Richard Estes.

But while these pictures may ascribe to an easy-going lite photographic sensibility it is also to an oddly nostalgic one - with analogue fogged-film discolouration being a key motif. Her less involved technique does permit more rapid completion and all sixteen pieces on display were produced this year.

 

until 25th January 2013