OBJECT / IMAGE, ceramics, prints and drawings by William Martin
Velorose, 30 June 2017 – 12 August 2017
OBJECTS @ HOME, ceramics by William Martin
Next door to Velorose, 6 July 2017 – 8 July 2017
By appointment: firstname.lastname@example.org
ARCH, installation by William Martin
The Florence Trust, Highbury, 26 July 2017 - 28 July 2017
by appointment: email@example.com
From 30 June to 11 August 2017 at Velorose, in OBJECT / IMAGE William Martin asks us to consider the interface between objects and representation. His recent work addresses a dependent life in a frank, honest and unexpectedly playful way; whether the subject is men, the artist's mother, or self-medication (and more), William’s work touches. A number of pieces will be free to turn, to touch, and to wear. All work will be for sale, with an introductory text we are honoured to have written by Katherine Finerty
Two other shows run in conjunction with OBJECT / IMAGE (our second show of this Summer):
OBJECTS @ HOME: Axperience William’s work “at home" in an apartment upstairs designed by Velorose overlooking Charterhouse Square, and now lived in with style
ARCH: Catenary arches of porcelain will hang from the arches that provide support to the octagonal crossing of this grade I listed neo-gothic church-turned-arts centre, and references William’s frame (2016), a work that invited viewers to become participants in its exploration of masculinity and fragility
William shares a studio space in peckham with Feix & Merlin architects, and likewise his work at Velorose will occupy the half of 1B Charterhouse Square that forms our gallery. As in peckham, William has observed the way that architects work, and the results can be seen in OBJECT / IMAGE. William’s explorations of how graphical representations of space convey objective realities has led him to reverse the process at velorose; this is experienced in objects of contrasting form, size, finish and texture. Smaller objects fill cabinets of curiosity, while neoclassical pots of quiet grandeur sit imposingly in the open space. The backdrop of poplar plywood harmonises with the natural tones of the ceramics and fabrics, and contrasts with the glazes and colours that William employs
Many of William Martin’s familiar tropes are impressed on these objects of desire and dependence, providing a disarming insight into the artists’s mind: pokémon gaily grace electric celadon plant pots with a charming levity, while a stoneware harness insists on a lascivious, startling contrast; flowers meet fetish. Curious porcelain apothecary jars engraved with the molecular representations of alcohol, cocaine and valium (friday night (2017)) contrast with another kind of addiction: the images of past and present lovers on flat discs. In each of these items may be found an enquiry into the object itself, and the idea and image that it represents. by way of example, Dependence (2017), two almost-black glazed pots exemplifying a master-slave dynamic is at once a disarmingly attractive ensemble of glossy stoneware with an unglazed chain, while its design and physical arrangement induce us to read an interdependent relationship of uncertain balance.
There’s the rub - and the nub of object / image: the unrestricted continuum on which both objects and images exist, and the play between dependence and independence, the masculine and the fragile.