Forthcoming Exhibitions at Kettle's Yard
Added: (Wed Nov 07 2001)
Pressbox (Press Release) -
November 10 – January 6
The British abstract painter Jeremy Moon died in a motorcycle accident in 1973 only twelve years after devoting himself to painting full-time. This exhibition brings together a wide variety of work produced during his short career, many of which have never been shown before.
Having won the sculpture prize at the Young Contemporary Exhibition 1962, Moon began to show at the Rowan Gallery in London alongside artists such as Michael Craig Martin, Bridget Riley and Philip King, who has recently described his work as "among the best things being done at that time". His work was included in prestigious international exhibitions such as "London: the New Scene" at the Walker Art Centre, USA, 1965, Paris Biennial and Mainichi International Exhibition, Tokyo, both in 1967.
Moon‘s paintings show an interest in formal geometric concerns, but simultaneously achieves a ready wit and playfulness that gives the work a startling contemporary quality. Although Moon was keen to emphasise the abstract quality of his work, his use of titles and visual motifs suggest that all is not quite what it seems.
JOHN LEVINSON: WATERCOLOURS
November 10 – January 6
John Levinson's work is almost unknown outsidea circle of fellow artists and poets. Like Jeremy Moon, Levinson was a Cambirdge student, reading architecture at King's College before going on to St Martin's School of Art to study painting. He was an artist of the seventies who took his own life in 1979 at the age of 30.
The exhibition focuses on his work on paper in watercolour and gouache. He engaged with landscape and place, through travels to India, Africa and Australia and his familiar Welsh holiday countryside. But these are not just the landscape as seen. A swan can suddenly take on the role of Leda or a poached egg can become a planet. In these deft and often witty vignettes, he plays with the capacity of myth, emblem, drawing and painting to mediate between our inner ruminations and the outside world.
At Cambridge he was a contemporary of the sculptor Antony Gormley and they later shared a studio in London. In a foreword to the exhibition catalogue, Antony Gromley writes: 'John worked direct, as an impressionist, but with a symbolist sensibility. Whether in his watercolours, his larger paintings, his writing or his poetry, his art was a direct response to life as lived.