Modern Art is pleased to announce an exhibition of new work by Richard Aldrich across Helmet Row and Bury Street. This is Aldrich’s third solo exhibition with the gallery. Working within an expanded definition of painting, Richard Aldrich’s works alternate between expressing an abundance of visual information, and material reticence; a kind of withholding of their contents. Occupied with the minutiae of an idiosyncratic personal existence - a self-contained system of meaning – his works are situated in private dialogue with himself and with painting that occasionally unveils itself to the external viewer. At the same time, however, they are...
Modern Art is pleased to announce an exhibition of new work by Richard Aldrich across Helmet Row and Bury Street. This is Aldrich’s third solo exhibition with the gallery. Working within an expanded definition of painting, Richard Aldrich’s works alternate between expressing an abundance of visual information, and material reticence; a kind of withholding of their contents. Occupied with the minutiae of an idiosyncratic personal existence - a self-contained system of meaning – his works are situated in private dialogue with himself and with painting that occasionally unveils itself to the external viewer. At the same time, however, they are very much outward facing, seeking communication and exchange. Such variation in imagery is matched by radical interventions into the materiality of the painting itself, such as physically dismantling the canvas, which he often incises to create insertable pockets or to expose the stretcher bars behind. As such, the focus of an exhibition by Aldrich is on the shifting states from one work to the next. Like fluctuating frames of mind, each work presents a different set of propositions which may simultaneously clarify and confound their neighbouring works. Within these contextual shifts, Aldrich’s exhibitions are constellations of interrelated, but heterogeneous parts that reflect on each other to create different levels of potential understanding, which, in a broader sense, seek to consider how intelligence is attributed to objects in the act of interpreting them.
