• 8 August–6 September


    Surface and Space: A Summer Show features Massimo Bartolini, Anna Barriball, Tacita Dean, John Riddy and Juan Uslé, five gallery artists who draw upon the tradition of both landscape and abstraction to create pictures of meditative intensity. The photographs, works on paper and paintings in the exhibition often strike a balance between a legible image and an abstraction, conjuring a set of conversations between order and organic form. This is an online version of the gallery exhibition (6 July–7 August).


    Each of the artists in Surface and Space create works that evoke a dialogue between transience and enduring form. The exhibition invites viewers to reflect on intimate corners of space, the micro and the macro, from textured surfaces to larger landscapes, encouraging us to recall the enduring pleasure of looking closely – and looking slowly.


    Please see below for a conversation about some of the work in the exhibition between artist John Riddy and Craig Burnett.

  • John Riddy, London (King’s Cross), 2021, 2021

    John Riddy

    London (King's Cross), 2021, 2021

    John Riddy's photographic practice often emerges from his travels to distant locales, but he is equally adept at capturing the texture of London's urban corners. London (King's Cross), 2021 (2021) depicts a brick wall mottled by time. Stained by seepage and erosion, forces of nature have slowly permeated the bricks, overlaying the grid with organic forms.

  • Anna BARRIBALL, Wall, 2020–21


    Wall, 2020–21

    A brick wall is also the starting point for Anna Barriball’s Wall, 2021, but the artist made this graphite-on-paper drawing in the more intimate environment of her studio. Built up over many hours of careful application of graphite, the layers of grey shimmer subtly, creating at once an illusion of a brick wall, conjured from thin paper, and a monochrome, meditative object.

  • ANNA BARRIBALL, Window (cracked), 2019


    Window (cracked), 2019

    Barriball’s drawings often seem to hide as much as they reveal, becoming more than just an investigation of domestic surfaces – she is interested in the invisible as much as the visible, the liminal space between boundary and threshold. Window (cracked) is from a series of works started in 2008 which Barriball makes using regular 2B pencils. The artist does not see such works as ‘rubbings’ in the traditional sense, rather they are intense and rigorous interrogations of surface.

  • MASSIMO BARTOLINI, 100 Hours, 2013


    100 Hours, 2013

    Massimo Bartolini's 100 Hours, 2013, a rhizomatic structure, evoking a network of veins or branches, is likewise a meditation on the integration of space and time.





    Dew, 2017

    From afar, Bartolini's Dew, 2017, suggests a wintry horizon, yet a closer inspection reveals a surface that the artist has treated with an artificial dew, giving the impression that the paint might evaporate – and the artwork transform – at any moment

  • ANNA BARRIBALL, Smoke Studies I, 2018


    Smoke Studies I, 2018

    Drawing is at the very centre of Anna Barriball’s practice. She uses it to explore the most mundane and overlooked objects, from door panels to windowpanes. Barriball’s drawings often seem to hide as much as they reveal, becoming more than just an investigation of domestic surfaces – she is interested in the invisible as much as the visible, the liminal space between boundary and threshold.


    Barriball’s Smoke Studies2018, use the modernist grid as an organising principle, infusing the structure (derived in this case from a window grille) with the uncontrollable forms of smoke.

  • TACITA DEAN, Why cloud, 2016


    Why cloud, 2016

    Tacita Dean’s Why cloud, 2016 is at once a study of natural forms and an abstraction, bringing together two modes in the history of abstract art: the geometric and the organic.

  • JUAN USLÉ, Soñe que Revelabas (Pechora), 2018


    Soñe que Revelabas (Pechora), 2018

    Juan Uslé’s paintings emerge from a range of interests: his love of landscape, both the rivers and hills of his native northern Spain and the grids of New York City, but also the rhythm of his breath as he paints, often at night. Soñe que Revelabas (Pechora), 2018, looks like a landscape with a river running through its centre, yet there is a tangible sense of pace, or rhythm, like a slow movement through space, and an accretion of pigment and matter over time.

  • JUAN USLÉ, Bordeaux Route, 2017


    Bordeaux Route, 2017 Vinyl, dispersion and dry pigment on canvas
    46 x 31 cm