Oisín Byrne

Not Marble

★★☆☆☆

On until 31 May 2025

Byrne has a type. Or rather, he’ll paint you into one. Juno, Jorge, and Lucian dropped into the studio straight from a Just Stop Oil fundraiser. It’s now Jasper’s and Orlando’s turn to glue themselves to the gallery floor. Leave one hand free for the bubbly, though, Quentin. Move over, Naoise, you’re blocking the light.

One must first giggle that these throwaway acrylics have the power to inspire such frivolous contempt. Byrne’s square board portraits, uniform as though on a networking app’s grid, promote each sitter in their most studied spontaneity. The painter’s hand is the flattering filter called “Tuscan villa” or maybe “Granta”, so ubiquitous that calling it out is no use.

Yet that envy gives way to desire. Who wouldn’t fall for red bookish Joe, or MFA cheekbone Gary? Has art ever not been about class distinction and sex? 


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

Turner Prize 2024 at Tate Britain ★★☆☆☆

Pio Abad, Claudette Johnson, Jasleen Kaur, Delaine Le Bas

Turner Prize 2024

★★☆☆☆

Even the artists approach this edition with ennui.

Talar Aghabshian, Solace of the Afterimage at Marfa’ at The Approach ★★☆☆☆

Talar Aghbashian

Solace of the Afterimage

★★☆☆☆

The carpet dealer gallerist’s zeal reveals the work’s lamentable inadequacy. 

Hany Armanious, Circle Square at Phillipa Reid ★★☆☆☆

Hany Armanious

Circle Square

★★☆☆☆

The lightness of being can turn unbearable.

Simon Moretti et al, Hereafter at Swedenborg Society ★★★★★

Simon Moretti et al.

Hereafter

★★★★★

A Platonic hierarchy of forms rules this enigmatic exhibition.

Ksenia Pedan, Revision at Cell Project Space ★★★★☆

Ksenia Pedan

Revision

★★★★☆

Pedan’s paintings would rather be anything but.

Julia Maiuri, Yesterday & The End at Workplace ★☆☆☆☆

Julia Maiuri

Yesterday & The End

★☆☆☆☆

One can only imagine that some unconscious loathing of postmen motivated this project.

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