“Paint is not just colour, it’s light and air that I’m trying to portray on the canvas, dark and light… I’m trying to paint the atmosphere, trying to paint light itself. My works are primarily sensualist in the sense of colour, light, tone.” –– Peter Joseph
Lisson Gallery is honoured to present a body of rarely seen paintings by the late British artist, Peter Joseph, in his debut solo exhibition in China. Created between 2006 and 2011, this selection of works marks a relatively brief yet pivotal phase in the artist’s career, which saw the transition from his widely recognised early geometrical and minimal ‘Border’ paintings (1980s – 1990s), to a series of freer and more openly lyrical works known as 'The New Painting' (2014 – 2020). As one of only a handful of artists to exhibit at Lisson Gallery during its inaugural year in 1967, Joseph was the gallery’s longest serving artist before his death in 2020, with over five decades of collaboration and friendship with the founder Nicholas Logsdail.
After an initial career in graphic design, Joseph came to prominence as self-taught artist in the mid 1960s with a collection of abstract paintings comprising simple shapes in primary colours. In 1971 while at the cinema, he was mesmerised by a blank screen – the centre area lit, and with a black border – after the projector broke down. This experience led to the inception of his signature ‘Border’ series in the 1970s, which he then pursued with an unwavering focus for the following 35 years. Based on a deceptively simple motif, the series is characterised by a painted rectangle of a lighter tone set within a border of a darker colour.
Read moreIn 2006, Joseph began to create works that retained a simplicity of form, which he called 'The Window Paintings', as presented in the Shanghai gallery. Each work remains limited to two colours and set in a geometric framework, but divided by a centre line, either horizontally or vertically, and with hitherto unseen areas of painterly gesture. Through the placing of two tonalities – one lighter, one darker – side by side, there is a sense of freedom that exists outside of the geometry of his earlier work, expressing an ultimate impression of balance. Understatedly elegant and graceful, the colours are shades of grey, ochre, blue and lilac.
Describing himself as a classicist, Joseph’s abiding interest was in the work of classical artists, particularly Claude Lorrain and Watteau, whose work he regarded as “vehicles for the imagination as well as transcriptions of so-called reality”. Observed from the hillside on which his home and studio were perched in the Cotswolds, Joseph's work became increasingly suggestive of nature, and the shifting clouds and light in the valley below. The artist sought to conjure the density and structure of nature via the abstract relationships between colour, light and form.
“颜料呈现的不仅仅是色彩,我还试图在画布上描绘光线和空气,黑暗和光明......我尝试刻画氛围以及光本身。我的作品主要探讨的是对色彩、光线和色调的感觉。”——彼得·约瑟夫
里森画廊荣幸地宣布于上海空间推出已故英国艺术家彼得·约瑟夫 (Peter Joseph) 在中国的首次个展。本次展览将呈现约瑟夫一系列罕见的绘画,这些创作于2006年至2011年间的画作标志着艺术家职业生涯中一个相对短暂却关键的过渡阶段,即从他广受赞誉的早期 (1980年代至1990年代) 几何极简“边框”系列 (“Border” paintings),到2014年至2020年间笔触疏松、更具诗意的“新绘画”系列 (The New Painting)。作为里森画廊在1967年成立之初展出过为数不多的几位艺术家之一,约瑟夫与画廊创始人尼古拉斯·劳格斯戴尔 (Nicholas Logsdail) 拥有逾五十年的友谊及合作关系,他在2020年去世前是画廊代理时间最长的艺术家。
约瑟夫最初从事平面设计和广告行业,自学成才的他于1960年代中期凭着一系列由简约原色形状组成的抽象绘画在艺术圈崭露头角。1971年在电影院的一次经历造就了他标志性“边框”系列的开端——放映机发生了故障,屏幕中央泛着微光,而四周则被一圈深色的边框包围着,约瑟夫却如痴如醉地盯着空白的屏幕看了许久。在此后的35年里,艺术家不懈地专注“边框”系列的创作。该系列的主要图形为两个看似简单的方形,一个浅色调的方形嵌套于一个深色的边框中。
2006年,约瑟夫开始创作他称之为“轩窗” (The Window Paintings) 的系列,其中的八件在本次里森上海的个展中展出。“轩窗”系列保留了他此前“边框”系列作品的简约形式:每件作品仍然以几何为框架并依然由两种颜色组成,不同的是“轩窗”系列的画面被一条水平或垂直的中线分割,呈现出一种全新的构图和抽象形式。通过并置浅深两种色调,此系列画作传递了一种在约瑟夫作品中前所未有的的自由,包括灰、赭石、蓝和丁香紫等一系列雅致柔美的色彩搭配彰显了平衡与和谐的极致。
约瑟夫自称是一个古典主义者,他对古典艺术家的作品一直很感兴趣,尤其是克劳德·洛兰 (Claude Lorrain) 和华多 (Jean Antoine Watteau)。他认为这些古典作品是“想象力的载体,现实的转录”。约瑟夫生前常在他的家居工作室附近的科茨沃尔德山坡上观察风景,山谷间不断变化的云彩和光线等自然元素在他的创作中愈渐明显。他试图通过色彩、光线和形态之间的抽象关系来想象大自然的结构和体量。“轩窗”系列之后,约瑟夫进一步发展出构图更松散的“新绘画”系列,后者以在素净背景下、质感轻盈的拼接色块为特色。