Third Order: group exhibition by 4 female artists
Curated by Karolina Albricht, selected artist for Artrooms Fair London 2018
‘(…) we are familiar with things being either/or abstract or representational, but there is a third order out there (…)’ Jack Whitten, “Jack Whitten: An African-American and Pollock” Painting After Pollock
Third Order focuses on recent works of four female artists who push, pull, tug and examine the boundaries of figuration and abstraction in contemporary painting. The exhibition is not rooted in all-governing ideas, but embraces the subtle ambiguity of working between the familiar and the unknown. Personal narratives are created through different working methods, subjects and paint specific understanding of shape, colour and texture. The artists, following their visceral urge, develop a dialogue based on underlying search for the equivocal form. Not settling for a chosen camp or dogmatic structures, Third Order upholds an honest and unguarded approach to painterly exploration.
Agnieszka Katz Barlow’s paintings are made up of vibrant layers of colour and wayward flat shapes that act as surrogate figures. Katz-Barlow tends to avoid binary ideologies and instead embraces ambivalent spaces and anarchic identities. Interested in visual intellect and composing ideas from an internal digested pulp, Agnieszka lets her painting be a balancing act of opposing paradoxes. The narratives and spaces she creates are fictions that originate from, and can only exist within the language of painting.
Sara Dare is a painter and installation artist. Her practice explores themes of the relationship between process, environment, scale and ambiguity of form through an abstract and instinctive language. Playful and often psychologically charged shapes examine concepts relating to repulsion, lure, conflict and proxim- ity. Sara’s approach incorporates the awareness of the environment surrounding the work and she currently investigates site-specific painting and installation of oversized work in an architecturally challenging envi- ronment.
Anna Liber Lewis paints from life, from imagination and from memory. Each painting comes from an en- counter. She is interested in this moment, when something shifts: a metamorphosis that happens some- times physically, sometimes emotionally; manifested in behaviour, body language and visual signs, a shape shifting. The paintings shift between what is seen and what is felt. They morph between the act of looking and the manifestation of a sensation, be that flirtatious glances, desire or defiance. Oscillating between subjectivity and objectivity, ambivalence is the driving force, moving in and out of abstraction.
Karolina Albricht’s empirical approach forms a constant enquiry into human nature. Her work resonates as a human experience of duality, which applies to both formal and narrative aspects of her practice. Albricht uses elements of abstraction and references the familiar form, allowing the intended and intuitive to meet. The exact moment where two of the opposing forces meet injects an element of tension into her work. This is what then becomes a reoccurring, obsessive feeling or presence in her painting.