Urban and Rural
The artist mans the gallery
On to the “difficult second album”. A common idea of a one-man show is to premiere new work perhaps based on a single style or theme. It was with this in mind that I decided I would aim for all new work. I alighted on the phrase “Urban and Rural” stolen shamelessly from the local estate agent of the same name. This would cover my love of landscapes as well as grungy concrete surroundings. What better way to contrast these images than by displaying them on opposite walls of the Eagle Gallery in Bedford where the exhibition was due to take place on the week of the 19thSeptember 2015.
My planning went into overdrive, and I decided on a standard size and style of frame and pre-ordered enough for 20 new works. I did 80% prep work on each individual painting so that I could see the concept working within the gallery space. (see elevation below)
My planning went into overdrive, and I decided on a standard size and style of frame and pre-ordered enough for 20 new works. I did 80% prep work on each individual painting so that I could see the concept working within the gallery space. (see elevation below)
Original wall elevation based on twenty new paintings
Final version of the right hand wall
Of course, once into production with an exhibition date set and the painting proceeding, it became clear that my ambition could not be achieved. Urban paintings could take around two months while rural paintings might be as quick as two days. My options seemed limited, the exhibition could become “Rural and Rural” or I could reduce down my intended output. I choose the latter and reduced the format of two rows of five images on each wall to a single row with the two “hero images” in the window. This lowered my commitment of 20 new paintings down to 12.
The "Urban" wall
A more clean "minimalist" display
Computer elevation of the front window
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The "Rural" wall
View towards the front window (photographic copies of the two window paintings on their backs)
View of the front window from the street
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The necessary content was achieved in time, and to bulk out the display I included “Bargain Corner” at the rear of the gallery. Here, I brought out old work at greatly reduced prices as a way to shift stock. My tribute to Ikea commented on the retail aspect and perceived value of art. I enjoyed adding garish price reduction labels partially cutting into the visibility of the pieces. The “Victorian” multilevel hanging also meant I could get out more pictures as a contrast to the more minimalist display in the main area. I was quite proud of the red title boards I create to surround the pillar. With short lead in time between the end of my show and the next hang, I needed a solution that would allow for rapid assembly. I painted thin mdf boards with red paint and lettering in white and stapled cloth ties to the rear to be able to strap them to the column. One visitor seemed to “Storm out” in a huff offended by the notion of bargain corner – unless it was a reaction to one of the paintings either way, I count it as a success.
Tucked away area for bargain hunters
My tribute to IKEA
Tacky pricing - love it
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My painted signage strapped on to the venue column
The artist and his exhibition
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Another playful witticism was to add a large label with my self-portrait at the sales desk proclaiming “I am Andrew Naish - Please ask me a question” with an alternative when I was not on duty that could be blue tacked up: “I am not Andrew Naish: Please ask me a question”. Not sure this really made a lot of sense to the average visitor, but it tickled me.
Again, I tried a private view this time far less well attended than my first solo show which I guess had the novelty factor. As I said to begin with the ‘difficult second album’.
Again, I tried a private view this time far less well attended than my first solo show which I guess had the novelty factor. As I said to begin with the ‘difficult second album’.
The poster for the show
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Ask me a question?
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