Patricia Ferguson

Each Little Scar

★★★★☆

Curated by Brenna Horrox
On until 6 October 2024

No medium is better suited to anxiety and dread than the menacing dark line of the copperplate print. The late Ferguson’s 1980s graphic and charcoal works trace life in Northern Ireland at the height of the Troubles. Fear and loss left deep scratches in the faces of the women and children whom these works catch in moments of great trepidation. In one, a knock on the door wakes up a mother’s basest of instincts. In another, a liberatory political banner is a deadly trap.

“There is a gun in her home, and she is afraid”, marks a print titled Ireland. There is no defiance here, and no resolution in peace, either. Ferguson’s later works veered into media abstraction. Three sizeable plates of copper scoured seemingly at random and bearing signs of rust are hard to view through the gallery’s window. This isn’t on purpose, but it gives the show respite.

Elsewhere, the display reveals an anxiety over the status of prints as worthy art objects. A bizarre contraption of steel and distressed wood inspired by Ferguson’s subjects serves as a counter for her smaller coppers. It needlessly compensates for a deficiency not manifest in the work.


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

Hannah Tilson, Soft Cut at Cedric Bardawil ★★☆☆☆

Hannah Tilson

Soft Cut

★★☆☆☆

Tilson’s styled self-portraits are an affectation that will take many years of practice to pay off.

Choon Mi Kim, ACID—FREEEE at Ginny on Frederick ★☆☆☆☆

Choon Mi Kim

ACID—FREEEE

★☆☆☆☆

Some forms of abstraction simply scream ‘my kid could have made that’.

HelenA Pritchard, The Homeless Mind at TJ Boulting ★★★☆☆

HelenA Pritchard

The Homeless Mind

★★★☆☆

Death by debris falling from building façades is an artist’s occupational hazard.

Helen Johnson, Opening at Pilar Corrias ★☆☆☆☆

Helen Johnson

Opening

★☆☆☆☆

This is the work of a mind that, having needlessly spent years in therapy, became hooked on ennui or of an artist who wasted time misreading Lacan.

Max Hooper Schneider, Twilight at the Earth’s Crust at Maureen Paley ★★☆☆☆

Max Hooper Schneider

Twilight at the Earth’s Crust

★★☆☆☆

Mad Max meets Waterworld in a crossover sequel conceived by a film studio’s marketing department.

Alvaro Barrington, Grandma’s Land at Sadie Coles ★★★☆☆

Alvaro Barrington

Grandma’s Land

★★★☆☆

The party slumps into a half-voiced political complaint and never recovers. This is what happens when instead of living culture, we ‘celebrate’ it.

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