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Nick Goss

Green Lanes

Green Lanes. It sounds pastoral, nostalgic, faintly utopian – like some network of ancient drovers’ tracks and holloways that endures furtively in a pocket of deep England. But Green Lanes could hardly be further from such a place: it is a drawn-out urban thoroughfare, which slices for miles through the suburbs of north London, abutted by old retail parades, housing estates and supermarkets, by ranks of semi-detached houses and parks that renounced their claims to rural retreat well over a century ago.

24 September 2020

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Christof Mascher

Presence Above All

Christof Mascher’s Street turns river, a 2015 painting in oil on board, is an urban nocturne washed with the pale purply blue that belongs only to a clear night beneath a big moon. Gas streetlamps set cream-coloured orbs on either side of the scene, repoussoir glass gems from a European city of the 1820s. A boulevard carves through the landscape, parcelling it up. The painting is tight, everything in its proper place.

7 September 2020

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Gareth Cadwallader

Painting in the world, around the world

Shortly after the opening of Half-Lowered Eyelids, his first solo exhibition at Josh Lilley in January 2019, Gareth Cadwallader left his South London home to paint in the world. A painter with a meticulous, private methodology in art and life, the following images are all that we know about the genesis of the three works ultimately presented at Art Basel Miami Beach in December of that year.

25 August 2020

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Nicholas Hatfull

Sky and vapour

Josh Lilley first showed Nicholas Hatfull's iPad sky drawings — unique archival pigment prints on Somerset paper, modest but glowing — in the 2019 group show of painters' preparatory works Preparing for What. A year later we are proud to introduce and offer the first large oils derived from this daily digital practice.

25 August 2020

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Derek Fordjour

SHELTER

SHELTER, Derek Fordjour's 2020 solo exhibition at the Contemporary Art Museum, St. Louis, was both a compact survey of the artist's recent work and a site-specific installation that placed the viewer in a position of temporary safety from a heavy storm.

25 August 2020

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Ryan Mosley

What People Do

A year ago, Ryan Mosley was approached by the Contemporary Art Society, a heritage charity and consultancy that acquires British artworks for public display around the nation, to submit a proposal for the lobby of a skyscraper growing in London. This skyscraper, 22 Bishopsgate, would be second in size, nationwide, to Renzo Piano’s Shard, and would dwarf the landmarks of the city’s colossus-choked financial center. Paintings, thought this painter of paintings, would not fit for this space.

25 August 2020

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Ian Davis

Cruise Ship

Initiated in late 2019 and finished in June 2020, Ian Davis’ Cruise Ship evolved through a changing global reality, and the artist's iconic figures in matching clothes never arrived, never populated the scene. The cruise ship became a ghost ship — its trajectory, its past and its future, elusive. The rippling wake signals motion, but its unclear who is steering.

24 August 2020

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Nicholas Hatfull

An Autumn Afternoon

There’s an alley that reappears in Nicholas Hatfull’s recent paintings. It is an alley from An Autumn Afternoon (1962), Yasujirō Ozu’s final film.

24 August 2020

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Kathleen Ryan

The Journey of Bad Melon (Party Girl)

Altogether more moist and pulpy than the citrus fruits with which the series debuted at Josh Lilley in October 2018, the Bad Melon works conjure another tangible, tactile aspect of ‘badness’.

24 August 2020

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Kathleen Ryan

Ghost Palm

Kathleen Ryan’s Ghost Palm was commissioned in 2019 for the second edition of the biennial Desert X, an exhibition of site-responsive artworks in Southern California’s Coachella valley in the spring of 2019. A lifesize rendering of the Washingtonia filifera (desert palm) in steel, plastics and glass, Ghost Palm sat along the San Andreas Fault, the meeting point of two tectonic plates.

24 August 2020

Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt
Installation view of A New Kitchen Sink at Josh Lilley, presenting Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt

Artworks

Down by the Water by Nick Goss, 2017
THE LISTENING by Vicky Wright, 2017
Help Find Nimbus (Winter Light) by Nicholas Hatfull, 2017
Bed by Gareth Cadwallader, 2017
View from the Sailor Girl I by Gareth Cadwallader, 2016
The Lion’s Dream by Tom Anholt, 2017
The Domestic by Tom Anholt, 2017
A Painting of Plymouth by Dickon Drury, 2017
When life gives you lemons just say ‘Fuck the lemons,’ and bail by Dickon Drury, 2017
Sirens by Ryan Mosley, undefined
Yesterday’s Reflection by Ryan Mosley, 2016
PAGAN/PAGANO (supermodel mermaid angels drowning in rivers of blood) by Lucy Stein, 2016
Turpitude by Lucy Stein, 2017

A New Kitchen Sink

Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt

24 February – 23 March 2017

The so-called Kitchen Sink Painters depicted life under austerity in post-war Britain, and dealt in accumulation: a loyalty to detail (the way a join works in a cheap apartment matters); an aversion to editing (a half-finished bowl of cornflakes shouldn’t be finished or filled); a building-up of paint (work it until it takes on its weight in the world). In the 1954 essay that christened the school, David Sylvester described their work as inventory. Take what’s on the table. That’s our life.

Kitchen Sink painting became thought of as hardcore Social Realism because it depicted broke people with drab lives. This ready politicisation, enough to send the four painters of the school to the Venice Biennale as Britain’s representatives in 1956, pegged the movement to a single narrative of struggle and a moment in time. By the 1960s its perceived parameters had dissolved and it was out of date.

We are reassessing the motives of Kitchen Sink painting and the idea of inventory as an attitude toward looking in times of social transition and uncertainty. It is a position of acceptance and response to one’s surroundings, a liberating form of Stoicism: processing the world by allowing the nature of the world to dictate the things and the way one paints.

A New Kitchen Sink is a group exhibition of British figurative painters who risk propriety in order to reflect the way their world currently feels, and the factors that influence it. At a moment of profound, accelerating dissociation fuelled by technology, these painters admit advertising, architecture, personal history, art history, style, society and social issues into their frames. Frames of reference and frames on the studio wall, it is an openness to accumulation as a path to reality, and inventory alone as a valid form of meaning. A paradox and a proposal: for British Social Realist painting in 2017, the kitchen sink is just the beginning.

Tom Anholt (b. 1987, Bath, UK) graduated from the Chelsea College of Art and Design, London, in 2010.

Gareth Cadwallader (b. 1979, Swindon, UK) studied at the Royal College of Art, London, Slade School of Fine Art, London, and Hunter College, New York.

Dickon Drury (b. 1986, Salisbury, UK) completed a BFA in Fine Art Painting at Falmouth College of Art before graduating with an MFA in Painting from The Slade School of Fine Art, London.

Nick Goss (b. 1981, Bristol, UK) graduated from the Royal Academy Schools, London, in 2009.

Nicholas Hatfull (b. 1984, Tokyo, Japan) graduated from the Royal Academy Schools in 2011 and was the Sainsbury scholar in Painting and Sculpture, British School at Rome, 2011-12.

Ryan Mosley (b. 1980, Chesterfield, UK) completed his MA at the Royal College of Art in 2007.

Lucy Stein (b. 1979, Oxford, UK) studied at the Glasgow School of Art and De Ateliers, Amsterdam.

Vicky Wright (b. 1967, Bolton, UK) completed her MFA at Goldsmiths College, London in 2008.