Context is everything, as a judge once proclaimed. That context might need contexts, too, and Hawkins says her canvases throw back to some others, which, in turn, root their ideas in an event now too distant to recall. The verdict? Nice story, but it’s nonsense. Hawkins’s wet paint abstractions – colour washes straight out of the tube, unmixed – transparently overplay reference and recall. Painter’s tape and oil bars – what is being tied to what here? – make for barely circumstantial evidence. Left to her own devices, Hawkins (whose work, in company, was a highlight in the Condo jumble programme) reveals that her studio was no crime scene.

Cynthia Hawkins Maps Necessary for a Walk in 4D: Chapter 4
Maps Necessary for a Walk in 4D: Chapter 4
★★★☆☆
notes and notices are short and curt exhibition reviews. Read more:

Pio Abad, Claudette Johnson, Jasleen Kaur, Delaine Le Bas
Turner Prize 2024
Even the artists approach this edition with ennui.

Julia Phillips
Inside, Before They Speak
No object exists without its double, no form without an opposite. Phillips’s dainty assemblies of ceramic, steel, and PVC tube exist only as much as something else—the artist’s body and mind, for example—took a lead in shaping them. The resulting…

Abel Auer
The shadow of tomorrow draws an ancient silhouette
Auer is more interested in the fate of painting than humanity and thus stands apart from the army of zealots who make eco art today.

Florian Meisenberg
What does the smoke know of the fire?
Meisenberg’s paintings are either the product of a conspiracy or documents of a conspiracy theory.

