The title of this exhibition of Kirsten Glass's new paintings is an irreverent reference to the historic witch trials when suspects were tied by ropes and thrown into deep water – if they sank and drowned they were innocent, if they floated they must be guilty. In Glass’s view, witches can swim, so her title suggests the survival of the soul, an animistic reconnection, a re-enchantment, here through the painting process. To Glass, art is potentially the manifestation of a spiritual, magical process, whether or not artists realise it. Alongside the paintings this exhibition includes an offering table assembled by Glass, containing a historic coven relic.
-
-
Kirsten GlassPurple Chooser (Jupiter), 2020Oil paint, glitter and embroidery thread on canvas240 x 190 cm | 94 1/2 x 74 3/4 in
-
Kirsten GlassKittens, 2017Oil paint and wax pencil on canvas274 x 183 cm | 107 7/8 x 72 1/8 in
-
Kirsten GlassVesica, 2017Oil paint, acrylic and embroidery thread on canvas260 x 173 cm | 102 3/8 x 68 1/8 in
-
Kirsten GlassSpecies, Soft Knife, 2018Oil paint, acrylic and wax pencil on canvas195 x 160 cm | 76 3/4 x 63 in
-
-
Glass’s paintings grow and develop in a process she likens to a ‘slow-motion collage without a plan’. Figures and shapes are decontextualised, recontextualised, obscured and added over her long process of working. This is exemplified in the largest painting in the show, Purple Chooser (Jupiter) (2020), which Glass worked on for about a year. Approaching the canvas over time in different moods, channelling numerous influences, only one element remained constant: the purple figure in the left-hand corner. This physical and narrative journey animates the canvas, giving it a visceral, lived-in structure.
Each of Glass’s canvases is divided into distinct sections, echoing the collage mentality of her earlier work and visually emphasising the interruption of straightforward narrative. Incised flowing lines and shapes, including the flowers of life pattern from sacred geometry, are scratched into the surface of the canvases, revealing underlayers of paint. These highly textured paintings incorporate thread, sand and glitter. Meanwhile, stock silhouettes are added, reworked and hidden. The visual and textual differences in each work are eventually harmonious, each painting having its own sensual logic and unexpected sense of presence.