A Few Unruly Thoughts
This essay was written for Simon Streather’s exhibition Night Paintings at The Cello Factory, London (October 2018).
Simon Streather’s new paintings look like rare objects, either time-worn watercolours or perhaps old stained documents. Or maybe they are made to evoke fragments of ancient scrolls that can only be shown on parchment paper. Perhaps there is a reference to archives here, I’m not sure. In any case, there is obviously an inherent fragility to them.
I see them not reproduced online or in a book, but in a gallery setting, hung on the wall. I note that the paintings have no frame, and yet I also note that the hand-made sheets of papers on which they rest constitute some sort of framing device. There is a frame, but strangely the frame isn’t there. Maybe the walls or the gallery space itself constitute the frame. In any case, the parameters of the frame are unclear.Read More