Jessica Webster: A horse with no name

What a delight to go to a real live exhibition and Jessica Webster did not disappoint.

Having to book on-line to see Jessica Websters new exhibition and choose your one-hour slot, grab your mask and head out felt great. The Goodman gallery was manned by Shea Machiri who charmingly introduced the show to me and then left me to look at all of the work. Thanks Shea.

The work is a collection of work from the last 3 years and the diversity is impressive. She has used jute and cotton canvases. Her use of the supports she uses lends a textured and layered image.

In the press release Webster is quoted as saying that she had a “desire to challenge contemporary painting and to drag it down.” She further explains that she wants to create work that references the trend of paintings that “move toward showcasing the transcendence of various experiences” but instead wants to challenge the viewer “to move beyond what might be typified as beautiful”. Or in the artist’s words, “anti-aesthetic”.

Using subject matter that speaks to the seductive nature of “beautiful”.

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 Crystal Chambers no. 12 (Waterloo Croc) 2020
Oil paint and wax on jute canvas
Work: 125 x 180 x 5 cm

There is something very quirky about this donkey. I love it. The eye particularly.

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Crystal Chambers no.3, (Swimmer under White Plume) 2020
Oil and encaustic on jute canvas
Work: 110 x 110 cm

The layering is exquisite. Around the edges the rough texture of the jute is evident and adds to the depth of the image. The cold wax treatment of the jute is shiny and the thick applications of hot wax is buttery and matt.

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 Crystal Chambers no.4, (Orange Rushes, Golden Island) 2020
 Oil and encaustic on jute canvas
Work: 68 x 68 cm

The variety of images, use of colour, different supports and subject matter is wonderful to take in.

The Jessica Webster exhibition is almost over so get there as soon as you can. It is well worth it.


Check out some other exhibitions here<<<

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