Joseph Awuah-Darko

How is your day going?

★★☆☆☆

On until 19 October 2024

A small board smeared with a single stripe of dirty blue oil paint marks the beginning of Awuah-Darko’s diaristic series of geometric abstractions. The painter must have been experiencing despair on June 3, P.M. to start his show with such a singularly drab mark. His mood picked up a week later, however. June 17, P.M.’s tableau is one shade short of a rainbow, while July 4, P.M. is an outright firework display.

This project relies on layers of gimmicks and, sadly, they show through Awuah-Darko’s thick palette knife impasto. Despite the gallery’s promise, there is no trace of the artist’s moods in these images, nor his thoughts on the world around him. Instead, the oils celebrate the paint-by-numbers Excel spreadsheet that brought them into existence. Given that these works make a claim on Josef Albers’ coloured fields with which they share form and colour, this artifice is barely forgivable.

All art relies on a degree of narcissism. Even a classical landscape is an argument for one artist’s vision over another’s. Awuah-Darko, however, skips the painter’s travail altogether and demands the viewer’s attention for some already mediated ‘me’. 


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

Sula Bermúdez-Silverman, Bad Luck Rock at Josh Lilley ★★☆☆☆

Sula Bermúdez-Silverman

Bad Luck Rock

★★☆☆☆

This is a poor man’s version of history or a philistine collector’s absolution.

Calla Henkel & Max Pitegoff, I.W. Payne, Downtown at 243 Luz ★★★★☆

Calla Henkel & Max Pitegoff, I.W. Payne

Downtown

★★★★☆

This project has no room for breath and even less for context.

transfeminisms Chapter IV at Mimosa House ★☆☆☆☆

transfeminisms Chapter IV: Care and Kinship

★☆☆☆☆

Lack of care for the artefact is a strange USP for a gallery.

Nick Relph, Fils, ta vision! at Herald St ★☆☆☆☆

Nick Relph

Fils, ta vision!

★☆☆☆☆

There’s little for the eye to hang on and none of the punk culture of Relph’s earlier practice emerges from the works.

Willie Doherty, Remnant at Matt’s Gallery ★★★☆☆

Willie Doherty

Remnant

★★★☆☆

Doherty’s tragipoetic timing can be masterly.

The last train after the last train at Public ★★★☆☆

The last train after the last train

★★★☆☆

The failed magic tricks in Lyndon Barrois Jr.’s canvases would hang in the final scene of Chinese Roulette in which everyone turns against everyone.

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