Pritchard's first solo-show at Rove Gallery, Moths, Drones & Drainpipes, features works which play with aesthetic conventions and established genres of painting. The painted canvases are seen attached to a canvas board, evincing a page-like quality, where registration marks reveal the history of the painting.
Made over the course of a year, the featured works use a variety of materials such as damar resin, pigment, oil paint, spray, charcoal, enamel,and collage. Each layer of paint is documented by a series of accompanying photographs, diagrams and written work presented as contingent parts of the process to Pritchard's formal decision-making.
Pritchard's irreverence in the painted gesture is a deliberate aesthetic choice resultant from the indifference of vernacular language in our global, homogenised time.
The featured works question the aesthetics of variant cultures. The inherent symbolism of form, be they proteas, bones,guns,punches, hair,or detritus they have the ready made restlessness feel of rhopography. Set in still life landscapes, these genre paintings help to elucidate the paintings' objective: namely, to establish a taste of the ordinary, and of things under-represented.
The ephemeral quality to Pritchard's works evince both their fleeting temperament and reference to a variety of artistic styles. Often allegorical, they look to art history and the origins of painting; from cave paintings in Southern Africa, to Seventeenth Century Flemish genre painters and landscape painters like Pierneef (1886), and finally to Modernism.
This hybridised language is metaphoric in its problematisation of pre-established ideas of aesthetics within society, furthermore presenting the painting as the platform on which to be represented.
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