France-Lise McGurn

Strawberry

★☆☆☆☆

On until 2 October 2024

“Preferring to work quickly and intuitively”, as the gallery handout informs us, McGurn has created the visual equivalent of elevator music. Indeed, to paint these figures of young, often naked women cannot have demanded more than a weekend. The formula which McGurn follows, however, is exacting. Her template was perfected by scores of commercial illustrators and street caricaturists through years of market research.

The pastels are twee. The baby deer outline which shows up on two canvases isn’t bizarre enough to put the rest in some contrast. Against this gallery interior’s opulence, these paintings aren’t even a plausible study of kitsch.


notes and notices are short and curt exhibition reviews. Read more:

Tommy Camerno, Delirious at Filet ★★☆☆☆

Tommy Camerno

Delirious

★★☆☆☆

What’s left of the show are stage props that feed adolescent imaginations with false memories of the long-finished party.

Megan Rooney, Echoes & Hours at Kettle’s Yard ★★☆☆☆

Megan Rooney

Echoes & Hours

★★☆☆☆

For all this bravado, Rooney’s compositions offer only a very surface experience of abstraction.

Noah Davis at The Barbican ★★★☆☆

Noah Davis

★★★☆☆

Davis’ canvases give an account of time more sensitively than the Victorian portrait photograph

Saccharine Symbols at Rose Easton ★★★☆☆

Marisa Krangwiwat Holmes, Shamiran Istifan, Tasneem Sarkez

Saccharine Symbols

★★★☆☆

Meaning parts with the image in this exhibition, never to return. Post-structuralism triumphs.

A Comparative Dialogue Act, Luxemburg pavilion in Venice ★★☆☆☆

Andrea Mancini, Every Island

A Comparative Dialogue Act

★★☆☆☆

Stage fright is real. Cowardice is another thing altogether.

Bruno Zhu, License to Live at Chisenhale ★☆☆☆☆

Bruno Zhu

License to Live

★☆☆☆☆

Faced with so little, one longs for an even emptier room.

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