Josh Lilley is proud to present Hold Your Own, an exhibition of new paintings, wall reliefs and prints by Danish artist Peter Linde Busk.
Busk is a feral Academy artist, acquiring and then exploiting all the skills that education allows. His appe- tite and searching attitude have rendered him a consistently restless and hard-to-define artist: he has made paintings; paintings in unconventional media that close in on collage; prints of every kind, from etchings to woodcuts and monoprints; sculpture in clay and bronze; paintings made out of sculpture until they become sculptures; mosaics; textiles. He has embraced everything the hand can make. First a figurative painter, his practice has expanded at a steady rate, growing thicker with each new technique he has taken on.
The emblem of this exhibition is Mand Falder IV, a large work containing the totality of his practice to this point. It is covered in jigsawed plates of carved wood, fired ceramic, stapled down slivers of prints, stones, ink, paints and ambiguous geological stuff. It is a maze of abstraction whose every mark bears the hand of the maker, yet it offers no answers and no route. Despite echoes of Mike Kelley’s Memory Ware works (and all the vernacular American art they imply), as well as the proto-Situationist CoBrA movement and 1980s Occidental Neo-Expressionism, Busk’s full reliefs strike their own mood, a result of their own journey.
The name of the four Mand Falder works translates as Man Falling, itself the title of a 2013 documentary about the Danish artist Per Kirkeby recovering from a late-life brain injury and figuring out if he could remember how to paint. Busk’s homage to the ever-expanding mind of Kirkeby is less an elegy, more a fireworks display — an artwork about pictorial and neurological chaos and complication, and the beauty of tumbling in that atmosphere.
Busk’s painting practice can go no further than the ecstasy of Mand Falder IV. He is at the limit of what a picture can be. Thus, in Hold Your Own, a suite of small to metre-tall paintings and two monochromatic lithographs show what happens next. Busk’s new practice takes place in a modest painting studio in the bay community of Faxe, south of Copenhagen. Returning to the figure, to directness, to nimbleness, and to angst at a softer register, Busk’s careerlong wrestling match with the weight of the body and what it can do here returns, weightless and astringent, as a dance.
Peter Linde Busk (b. 1973, Copenhagen) studied between 2002 and 2009 at the Slade School of Art, Lon- don; Hunter College, New York; the Kunstakademie Düsseldorf (under Peter Doig); and the Royal Academy, London. In the past decade he has been the subject of institutional solo exhibitions at the Borås Konstmu- seum, Borås, Sweden; GL STRAND, Copenhagen; and the Holstebro Kunstmuseum, Holstebro, Denmark; in addition to solo and group exhibitions at the Soane Museum and Saatchi Gallery, London; Kettle’s Yard, Cambridge; Studio Voltaire at BolteLang, Zurich; Derek Eller Gallery and the Hole, New York; MONITOR, Rome; and Galleri Christina Wilson and Galleri Bo Bjerggaard, Copenhagen. Busk participated in Josh Lilley’s first show in 2009. Hold Your Own will be his third monographic exhibition with the gallery. Busk lives and works in Faxe, Denmark and Berlin.