Resistance and Persistence

This is the title of an exhibition I visited at the Ingleby Gallery recently. Their guide to the exhibition has a quotation from Sean Scully's essay on Giorgio Morandi in which he describes his first encounter as a student with a particular painting of Morandi's. 'It wasn't exciting, yet it was exciting. Exciting in its resistance, in its subversiveness'. These qualities are the starting point for 'an exhibition that considers the idea of artistic positions that have been hard won'.

I immediately related to this description. I recognised that artists whose work I find especially meaningful is of this nature. And several in the group of a dozen or so artists included in the exhibition were already of interest to me: Francesca Woodman, Rachel Whiteread, Jane Bustin. To these I now add Sean Scully.

A group of Morandi paintings, two of them not seen in public for over 50 years, are at the heart of the exhibition. I found these pleasing in their subdued colours and subtle tonality. I related less readily to his etchings which are so strongly linear despite his use of aquatint for some tonal effects. The paintings are what, for me, represent the exemplar which is reflected in the work and approach of the other works exhibited.

I found the exhibition outstanding for the selection and presentation. Connections were so readily made. There are eminent artists as well as some less well-known. The entire exhibition is an experience in itself

This was my first chance to see the work of Jane Bustin in person. I discovered small, subtle, unassuming works. I especially liked two sets of small strips, selected for their related colours, and using a range of materials from thin delicate porcelain to paper. The arrangement of the pieces seemed quietly assembled to create a sense of harmony. 'Blue Notes' (2015) has greater contrasts of length and uneven lower edges calling to mind the pipes of Pan, while 'Amber Notes' (2015) are broader, with less of a graceful feel.

'Garage' (2005), by Rachel Whiteread, consisting of an assemblage using plaster, painted steel and laminated wood, was another piece of particular interest to me. Seeing it at close quarters what struck me immediately was the delicacy of the surface textures, a quality I associate with plaster. I was intrigued but in retrospect it is the fine surfaces that come back to mind. I

A selection of Francesca Woodman's small prints set in broad frames are distributed through the other works. As with Whiteread's work, I find them arresting yet find it hard to say why, but note how they are distinctive images that would be hard to pass over. Both seem to me to make secret statements.

There are typically a few works by each artist but to an extent perception of the perseverance aspect relies on the viewer having seen previous work by the artist. In the case of Morandi there are enough works to allow this to be seen more in action.

This exhibition has given me much food for thought. It is a fresh way to look at the works and indeed to approach the creation of art.