Nicolas Party: Boys and Pastel
2 May – 21 June. Tues - Sun, 10am – 5.30pm
Preview: Friday 1 May, 6 - 8pm
Inverleith House is delighted to present Nicolas Party, Boys and Pastel, the first major solo exhibition in a UK public gallery by the Swiss artist (b.1980, Lausanne. Lives and works in Brussels, Belgium). We look forward to welcoming you to the Preview on Friday 1 May 6 – 8pm, all are welcome.
Image Courtesy of the Artist and The Modern Institute/Toby Webster Ltd, Glasgow.
Exhibition supported by The Modern Institute/Toby Webster, Ltd., ProHelvetia, the Swiss Cultural Fund and the Stanley Thomas Johnson Foundation.
Nicolas Party: Boys and Pastel
2 May – 21 June
For Boys and Pastel, Nicolas Party has transformed the formal Georgian interior of Inverleith House into a contemporary ‘gesamtkunstwerk’ with the most expansive installation of his decorative wall paintings to date, spanning every available inch of the seven gallery spaces, and also encompassing the stairwells and corridors of the House. These patterned murals act as a framing device and wondrous stage set for a new series of pastel compositions and charcoal drawings delivered in Party’s unique aesthetic language. Party will also present a selection of rarely seen short films within a specially designed screening space.
Through Party’s gregarious, distinctive and stylistically dexterous paintings and drawings, the total environment created by Boys and Pastel directly responds to the interior architecture and mirrors the surrounding botanical context of Inverleith House, ushering in elements of the Garden to animate the stillness of the gallery space. Each room takes on its own thematic discourse, like chapters in an absurdist narrative whole and whether full, immersive tableaus or repeating designs, Party’s artwork continuously oscillates between abstraction and figuration.
Sometimes there are thick swathes of solid, flat colour
suggesting primal, rocky landscapes and scorched earth; other times bucolic
scenes are evoked by clumsy-looking vertical lines coursing up the walls, appearing
to sway as if growing towards the light; whilst at other times still, clashing
shades and ice-cream daubs produce fantastical, almost psychedelic scenes.
Elsewhere there are dense charcoal forests, idiosyncratic yet repeating motifs
- perhaps a branch, perhaps a teapot - or recurring marks that appear to have
been rendered by some
lo-fi computer programme. These arresting environments hold a visual immediacy that cannot help but elicit a visceral response.
However energetic and untroubled by the anxieties of painting these tableaus may first appear, they nonetheless belie Party’s continuous meta-investigation into the very nature of painting itself; its conventions, traditions, veiled hierarchies, prejudices and interior classification systems. Party’s work can be read as a rich collage of referents and signifiers carefully appropriated from the history of art, design and craft. Borrowing from canonical art historical subjects such as nudes, portraiture, still life and landscape, Party selects and reimagines familiar, even hackneyed motifs – fruit arrangements, pastoral scenes, the coffee pot - reusing them in his work in a parodic and irreverent way, as can be seen in his anthropomorphic still lives of fruit.
Through the appropriation of certain themes and gestures, broad influences can be identified, with landscapes deriving from David Hockney; colour palettes borrowed from the Fauves, or perhaps Pierre Bonnard; painted collage referencing Matisse’s cut-outs; or else a Picasso figure. Party’s work is therefore at once homage, quotation and reappropriation, demonstrating a deep respect for, but also a critical attitude to the history of art. In this way, Party seeks to deconstruct prevalent artistic tropes and question the established paradigms of art history, challenging taste and taking ownership of the canon for his own means.
This process of appropriation also points to contemporary anxieties regarding authenticity, image reproduction and a culture mediated through the computer screen. This is made explicit in the recurring marks in Party’s work which overtly emulate the digital ‘brushstrokes’ of creative computer programmes such as Photoshop and even MS Paint. These inelegant ‘worms’ course the walls of Inverleith House in varied colours shapes and thicknesses, taking an angular, juddering, artificial line., Many of these shapes appear pixelated as if rendered on-screen, suggestive of computer agency in authoring the work. This subtle convention shifts the focus from the act of painting itself to the tools of contemporary artistic production, transforming the wall into a substitute for the depthless surface of the computer screen - a comment on the work of art in the digital age.
Boys and Pastel exists within a liminal space somewhere between the digital screen and the art history lesson. With this exhibition, Party has captured the contemporary zeitgeist, but also delves much deeper than that, suggesting a future for painting that conflates the physical and immaterial world.
Nicolas Party (b. 1980, Lausanne, Switzerland) lives and works in Brussels, Belgium. Party studied at the Lausanne School of Art (2001-2004) and at the Glasgow School of Art (2007-2009).
Selected solo exhibitions include: 'Two Naked Women', Kaufmann Repetto, Milan (2015); 'Pastel et nu', Centre culturel suisse, Paris (2015); 'Trunks and Faces', Westfälischer Kunstverein, Muenster (2014); ‘Landscape’, Kunsthall Stavanger, Stavanger (2014); ‘Pastel’, Gregor Staiger, Zurich (2014); ‘Still Life oil paintings and Landscape watercolours’, the Modern Institute, Glasgow; ‘Dinner for 24 Dogs’, Salon 94 Freemans, New York (2012); ‘Still Lifes and Big Naked Women’, Gregor Staiger, Zurich (2012); ‘Still Life, Stones and Elephants’, Swiss Institute, New York (2012); ‘Still Life, Gold and Peeling Paint’, ReMap 3, Athens (2011); and ‘Dinner for 24 Elephants’, The Modern Institute, Glasgow (2011).
Selected group exhibitions include: 'Prix Mobilière', artgenève Art Fair, Geneva (2015); 'Three Elephant’s Day', Bonner Kunstverein, Bonn (Performance with Serge Vuille) (2014); '/prospekt/ Funktion / Disfunktion – Kunstzentrum Glasgow', Neues Museum, Nürnberg; 'Uri Aran, JWDB, Nicolas Party', Gavin Brown's enterprise, New York (2013); ‘CARPETS OF DISTINCTION’, Dovecot Studios, Edinburgh; and ‘Painting Show’, Eastside Projects, Birmingham (2011).
For media information and images, please contact Chloe Reith, Exhibitions Officer
email@example.com. + 44 (0) 131 248 2971.
With thanks to The Modern Institute / Toby Webster Ltd., the Swiss Arts Council Pro Helvetia, Swiss Cultural Fund UK and the Stanley Thomas Johnson Foundation.
Inverleith House is supported by Creative Scotland. Exhibition Preview supported by Boë Gin.
Philip Guston: Late Paintings
This publication documents the acclaimed 2012 Inverleith House exhibition of the same name – voted one of the top 100 exhibitions worldwide in 2012 by Artforum magazine – and features photography by Michael Wolchover and texts by David Anfam, Paul Nesbitt and Philip Larratt-Smith.
Guston: Late Paintings
Edited by Paul Nesbitt. Texts by David Anfam, Philip Laratt-Smith, Paul Nesbitt.
In 1967, Philip Guston (1913 - 80) left New York city for Woodstock where - abandoning the Abstract Expressionism of the previous decades - he revisited the figurative imagery of his youth. Cartoon-like in quality, these paintings began to incorporate motifs familiar to him since childhood, from the hooded figures of Ku Klux Clan, to everyday objects such as lightbulbs, shoes and cigarettes. When these paintings were shown for the first time in 1970, they proved highly controversial, but soon gained critical recognition and are now widely regarded as some of the most compelling and influential works of the late twentieth century. Published from the acclaimed exhibition, Philip Guston: Late Paintings held at Inverleith House (which was featured in Artforum's Top 100 Exhibitions of 2012) this handsome volume includes installation views, colour plates, an illustrated interview, essays and additional plates in both colour and black and white
Published by The Royal Botanic Garden Edinburgh.
Hardback, 13 x 12 in. 60 pages.
To purchase by credit card please call 0131 248 2849 or contact firstname.lastname@example.org