Review of Wunderkamma by Shoreditch Radio

Nadine Mahoney’s piece Quiet Revolution was composed entirely of the same blue pigment, manipulated and layered to create different effects. The figure was wearing a Napoleon era style jacket and it brough to my mind to the General’s last years, in exile and relative obscurity. It turns out that Nadine does not liken her pieces to anyone in particular, but enjoys leaving it open to the viewer to read into it what they like. I definitely appreciate the ambiguity. Another piece of hers, New Romantic, again a study in blues, featured a little purple blob by his ear. To me it was a little flower, cheekily tucked behind his ear, quite romantic in a slightly silly way. Nadine explained how it just happened that way in the creative process and somehow looked right. I could only agree with her.
Another two pieces of hers stood out for me, both outlines of figures on aluminium. The first, calledThat Friday Feeling and Sunshine Sunday done in oil. Both were of the same out line a head and torso, done in spraypaint and oil, yet they conveyed totally different feelings. That Friday Feeling had purple stirrings at the core with darker tones as the outline. Looking at it gave me a slightly unsettled, yet excited feeling – like you might have before going out to a party. Sunshine Sunday was indeed just that, with the figure sitting bathed in light, enjoying a well earnt rest. Very much calmer than the Friday Feeling and perhaps the logical conclusion of a good weekend.’
By Katrine Carsten for Shoreditch Radio. Read the full review:

Wunderkamma Private View

Wunderkamma at Hoxton Art until 12th April.

I am always amazed at how different my paintings look outside of the studio. Seeing the works without the clutter of brushes, pigments, palettes etc is always an eye opening experience, and the curation of this show highlighted that experience. The affordability of open white space at an exhibition is a luxury that most studios cannot afford, and this show created a great sense of space even during the packed private view.
On the top floor an interesting dialogue is created between the figure in ‘Quiet Revolution’ and Matthew Tom’s works, but my highlight has to be the juxtaposition of Richard Stone’s ephemeral sculptures. I have rarely exhibited with sculptors; when it did happen there would be usual (heated) discussion of the painting needing floor space, and the sculpture needing wall space, where neither felt content with what we got! But the balance on both floors worked so well, the sculptures gave the paintings a new platform, they seemed bolder and brighter than I had experienced in the studio. All in all, the curation allowed me to see the works with fresh eyes, an inspiring experince that I can see fuelling a larger more focused body of work.

Photography by Original & The copy