[vc_row][vc_column width=”1/1″][vc_custom_heading heading_semantic=”h1″ text_size=”h1″ sub_lead=”yes” subheading=”22 September – 25 October 2018
Thursday – Saturday 10:00 – 17:00

Opening reception:
Saturday 22 September 2018 18:00 – 21:00

HOP Projects Space”]

Paleo FauvIsm

Alexander James Pollard

[/vc_custom_heading][/vc_column][/vc_row][vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ shift_y=”0″][vc_column column_width_percent=”100″ overlay_alpha=”50″ gutter_size=”3″ medium_width=”0″ mobile_width=”0″ shift_x=”0″ shift_y=”0″ z_index=”0″][vc_column_text]

HOP Projects CT20 is proud to present Paleo Fauvism, a collection of recent paintings by Alexander James Pollard. The title of the show points directly to the playful marriage of Fauvism and Paleo Art, rupturing established narratives associated with Modern painting in a truly positive and imaginative manner.

Painted over a 12-month period in his east London studio the works reveal his desire to reconnect with a “clairvoyant” painting first explored by the artist as a pupil at the Brighton Steiner School in the nineteen eighties. Rudolf Steiner believed that painting could provide a gateway to something more than just a simple message. The methods associated with clairvoyant painting can be loosely described as a form of wet on wet painting, allowing the artist to intuitively tease out an image without having a rigid plan or relying too heavily on outlines or linearity to define forms.

Pollard transfers this wet on wet or alla prima technique from water colour (used universally in Waldorf Steiner Schools) to oils, exploring mythic and archetypal imagery that echoes repetitious and ritualistic art from varying time periods and histories within World painting.

A face, a Dinosaur, savannah animals, a fictional creature or hyperstitional objects such as the Piltdown Man skull emerge through an alchemical and experimental process, allowing the artist to draw new associations between seemingly disparate references and forms, moving elegantly between figuration and abstraction.

Pollard paints with elan, choosing to weave imagery relating to mythic subjects such as the Beast of Bevendean, the Australian Thylacine (Tasmanian Tiger) and the ever-present cultural symbol of the Dinosaur together as magical archetypes that ultimately ask us to reconsider the role and potential of myth in contemporary society.

The exhibition will be accompanied by a series of public workshops entitled, ‘The Clairvoyance of Painting’, as well as a publication that will be released later in the year. The book will feature a full-length interview with curator Linsey Young (Tate Gallery) and an essay exploring some of the themes and ideas within the exhibition by Dr Craig Staff (Reader at University of Northampton).

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_separator][vc_column_text]

Surface Tensions, Contemporary Works 2018

HOP Projects CT20

Through its commissions, Surface Tensions interweaves and bends traditional genres of representation, inviting visual arts, performance and site-specific interventions to explore the complexities of experiences as simultaneously physical, psychological, emotional and cultural. Paintings could be seen as a window onto a fantastic universe. However, these have their own material presence as physical objects.

Pollard’s exhibition balances the tensions between abstraction and the suggestive ghostly forms, playfully emerging from its native habitat and depths of surface textures. Surface Tensions focusses on the organic transformations artists exercise over material techniques to direct our attention to the physical, instinctive and spiritual explorations they perform over their works.

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_separator][vc_column_text]Alexander James Pollard

Alexander James Pollard (b. 1977, Brighton, England) studied BA (Hons) Painting and Drawing at Glasgow School of Art from 1996-99, participating in an exchange program at the School of the Art Institute, Chicago in 1997.

His MPhil titled A Genealogy of Bad Painting – Legacies, Soft Objects and Networks was undertaken part-time from 2012-17 at Goldsmiths College, London. Pollard was a curator for two years at Transmission gallery, Glasgow between 1999 and 2001. In 2005 Pollard represented Scotland at the Venice Biennale. Other solo exhibitions include: Hot Lava, Project Room, Glasgow (2012); Collaborations, Sorcha Dallas Gallery, Glasgow (2010); Tea-Leaf Demeanour, Whitechapel Project Space, London (2008) and Black Marks, Talbot Rice Gallery, University of Edinburgh (2007). Group exhibitions include Counter Facture at Luhring Augustine, New York in 2007, the Santorini Biennale in 2012 and The Irregular Correct – New Art from Glasgow at the Fremantle Art Centre, Fremantle, Australia (2012). Pollard lives and works in London.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_button button_color=”color-115916″ border_width=”0″ link=”url:http%3A%2F%2Fwww.alexanderjamespollard.com||target:%20_blank|”]Artist Website[/vc_button][/vc_column][/vc_row]