There are two art prize exhibitions that I go out of my way to visit: the annual Jerwood Drawing Prize and the biannual John Moores Painting Prize. I love the Jerwood exhibition for its contemporary take on drawing and for pushing the definition of drawing to the edges of credibility. I love the John Moore exhibition for providing an insight itno what people are painting now.
Since the John Moores exhibition started I've been meaning to take a visit to Liverpool. Finally today we decided to take a family trip up there (it is just over an hour by train). I will happily go to art galleries by myself but I do enjoy taking my children and my husband with me too. I like to see their responses and reactions and to compare those with my own.
We didn't spend a great deal of time walking around the exhibition, which is always held at the Walker Gallery. It is quite a small selection and very well-spaced out. However, shortly after we started looking around we all agreed on our favourite (or, at least, on the painting to feature in the top five of our family favourites) and this happened to be the winner of the prize: Squint (19) by Michael Simpson. We all loved it. There was something disquieting about it. Was it the staircase that doesn't quite reach the window? Was it the odd window? Was it the simplicity of the image? Was it the size of the painting? Was it the contrast of the yellow and black against the bland background? Was it the almost pop artiness about it? Or was it just the whole package? We didn't know what the image was of. There was no information in the gallery (or in the catalogue) about it. In fact, I've only just found out what it is of and what it is about but I don't think that matters. What is important is that it appealed ot all of us, from the age of 6 to 44. We all loved it. We didn't know why. We couldn't quite articulate what it was about it that we liked. We just liked it. Perhaps we are just getting good at this exhibition visiting lark, or perhaps we are good judges.
There were a lot of other paintings in the exhibition to get inspiration from. Including Mandy Payne's No Ball Games Here. I like this piece for its unusual painted surface: concrete. I admire people who go against the norm in some way, whether it be in medium, subject, style or material. I am attracted to apparent 'ugly' Bauhaus style 1960s architecture (I study in one of the best examples of Bauhaus architecture in the West Midlands - see below). It amuses me that this building depicted here is a Grade II listed building, and rightly so. To me, it has deep beauty.
John Stark's Beasts of England II was amazingly well-executed and full of atmosphere. I stood and stared at it for a long time. Selma Parlour's The Side-ness of In-Out was just plain weird. I love weird. The world is too full of normality. We need more inexplicable weirdness.
I felt very inspired today. Painting is far from a dying art. It complements this current age of the blurring of the real and unreal. It is on the up.