{"title":"ONE WORLD | 16 maggio - 28 giugno 2023","description":"\u003cp\u003eJoe Packer, Hannah Luxton, Fiona G. Roberts – A cura di Paul Carey-Kent e Vivienne Roberts\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0907\/7335\/6877\/files\/Screenshot_2025-08-01_at_19.10.55.png?v=1754071878\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eONE WORLD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eJoe Packer, Fiona G Roberts e Hannah Luxton\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCome dovremmo entrare nei mondi di questi tre pittori? O forse dovremmo dire «il mondo», perché insieme sembrano fondersi in uno solo. Joe Packer si occupa della terra – astraendo dal paesaggio naturale pur conservando un forte senso della sua sostanza sotterranea; Fiona Roberts ci mostra le persone che abitano la Terra e che collettivamente determinano, se non il suo destino, almeno quello della loro specie; e Hannah Luxton trova i suoi soggetti in osservazioni remote – le cime delle montagne sono quanto di più vicino si spinga – in un lavoro che ci ricorda che il nostro mondo, materialmente e spiritualmente, è più della Terra. \u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTutti e tre hanno un approccio pittorico fondamentalmente simile. Né del tutto astratti né fantastici, ci mostrano realtà riconoscibili; e danno al modo in cui un dipinto è realizzato tanta importanza quanto ai soggetti che affrontano. Non si tratta del tipo di pittura di recente moda, in cui stili figurativi piuttosto semplici servono a sottolineare il soggetto – identità, razza, sessualità, per esempio – anziché la tecnica. Tutti e tre sono, se vogliamo, «pittori pittorici».\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eJoe Packer\u003c\/b\u003e non realizza vere e proprie astrazioni, ma si allontana dalla sua ispirazione paesaggistica quanto basta per descriverla come «un'armatura a cui appendere i dipinti» anziché come il loro soggetto. Le sue opere sono dense di forma e colore e raramente includono l'orizzonte, che innescherebbe letture più letterali. Di conseguenza appaiono chiuse: non sorprende che sia cresciuto accanto a un bosco. Ne nasce una carica psicologica, accentuata dalla sua predilezione per incorniciare i dipinti sia internamente sia esternamente. Come spiega Packer: «Non mi piace la bruschezza di un bordo dove il dipinto “si ferma e basta”, così spesso interrompo il bordo con una cornice che fa parte del dipinto ma allo stesso tempo lo conclude.»\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eL'interesse principale di Packer è il dramma visibile del modo in cui un dipinto prende forma. Parte da un'idea iniziale, magari un paio di forme, ma è il processo a creare la maggior parte di ciò che vediamo. È una questione di sperimentazione: sfruttare gli incidenti, scegliere quali accostamenti conservare man mano che applica nuovi strati, giocare con le disposizioni spaziali, arrivare a un colore dominante… E raggiungere una risoluzione che non può prevedere. Come dice Packer: «Tutti i pittori hanno cose che sanno di saper fare, trucchi del mestiere, per rendere le cose seducenti – ma non si vuole cadere in una formula: non è interessante.»\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEppure, proprio mentre assorbiamo quel dramma, veniamo riportati alla fonte. Possiamo decifrare alcune forme? Per farlo dovremmo comprenderne la scala, ma le composizioni all-over di Packer non offrono indizi. E lui non intende includere persone o animali, che limiterebbero tale ambiguità – anche se, data la pareidolia, potremmo benissimo leggere figure in alcune forme. Così ci chiediamo… Siamo immersi nel microscopico o osserviamo dall'alto i motivi di una foresta? È un albero o una foglia? È una forma monumentale o un elemento di natura morta collocato in modo un po' surreale nel paesaggio? Succede molto, laggiù. Ma forse è ora di salire.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLaddove Packer non dipinge persone, \u003cb\u003eFiona Roberts\u003c\/b\u003e non dipinge altro. Anzi, solo teste femminili. Detto così sembra limitato, ma è anche molto ampio. Perché le teste non sono solo forme nel mondo, sono anche il luogo in cui le persone creano i propri mondi interiori. Ed è proprio l'interfaccia tra interno ed esterno a interessare Roberts. Come dice lei: «Sono affascinata dalla condizione umana. Da come il mondo viene interpretato e attraversato tramite sentimenti ed emozioni… e nei miei dipinti catturo quelle emozioni, le trasmetto, forse le elaboro.» Non sono quindi ritratti, poiché non mirano a rappresentare persone specifiche, ma non-ritratti che trasformano la sua esperienza di persone reali in evocazioni dell'esperienza individuale e collettiva.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProprio come nell'opera di Packer, percepiamo la dinamica del processo di Roberts.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eFa un uso sofisticato di quelli che si potrebbero chiamare «incidenti pianificati». Quando lavora con inchiostro o acquerello, come nella maggior parte delle opere qui esposte, spiega: «Spruzzo acqua sul fondo prima di iniziare, poi ne aggiungo man mano – è un gioco di valutazione su quanto bagnato o asciutto debba essere. Gli effetti ottenuti sono irripetibili, il che è al tempo stesso eccitante e frustrante, ma ho imparato a fidarmi del processo.» Più ci si esercita, in modo un po' paradossale, migliori sono gli incidenti che si verificano. E l'abilità particolare di Roberts sta nel creare le condizioni per incidenti capaci di generare sia interesse formale sia coinvolgimento emotivo.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNel complesso, si può leggere Roberts come femminista. La scelta dei soggetti mette in primo piano l'agentività femminile, e talvolta ha affrontato storie esplicite, raffigurando – nel suo modo non letterale – donne uccise dai propri partner; donne capaci di dipingere, in risposta alle affermazioni patriarcali contrarie; sua madre come rappresentante di generazioni di donne private di opportunità. Eppure la natura del coinvolgimento emotivo resta ambigua da un quadro all'altro. Dove alcuni percepiscono vulnerabilità, altri potrebbero vedere riflessività: ciò che conta per Roberts è che le letture emotive siano possibili.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLa mente non è legata alla terra, e la dimensione spirituale implicita nell'esplorazione degli stati mentali di Roberts è più direttamente presente nell'opera di \u003cb\u003eHannah Luxton\u003c\/b\u003e. Lei va oltre la scala umana per concentrarsi sul remoto mondo naturale, condensando sole, luna, stelle, cime montuose e specchi d'acqua in versioni simboliche di sé stessi. Luxton evoca il classico senso romantico di meraviglia e soggezione che proviamo pensando alla vastità dell'universo. Gli orizzonti sono rari come in Packer, ma qui suggeriscono uno spazio infinito anziché la sua restrizione. Anche l'opera di Luxton ha le sue ambiguità. Tutto appare tranquillo, perfetto, preciso. Ma quelle sono ferite, lacerazioni e vuoti? Potrebbe essere la quiete prima della tempesta…\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRispetto a Packer e Roberts, lo stile di Luxton è minimalista, ma lei non cerca la stesura di colore piatta e impersonale associata a molti artisti minimalisti. Piuttosto, infonde nella sua pittura a olio un'intensità volta ad attivare i suoi archetipi evocando un'energia animista. Per farlo prepara la superficie con tre o quattro strati di colla di coniglio, poi applica un solo pigmento puro alla volta, mescolando i colori solo sovrapponendoli o velandoli l'uno sull'altro. Questo le permette di attirare lo spettatore nei diversi livelli di spessore, rivelando il colore sottostante più in alcune zone che in altre e rendendo evidente che c'è qualcosa sotto.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eQuel senso dell'ignoto dietro le apparenze si accorda all'atmosfera delle opere. «Di recente in Scozia», racconta, «mi ha colpito il fatto che ci fossero cose dietro le montagne, il che mi ha portato a chiedermi: come si fa a rappresentare qualcosa che non si vede?» La risposta potrebbe risiedere in quella velatura differenziata – e nell'uso caratteristico, come fondo, di un lino belga brunastro, in gran parte lasciato a vista. Ha una presenza materica che mi fa pensare a un ronzio universale, al fatto che sappiamo che il mondo è pieno di onde, raggi e interazioni nascoste, fuori dalla portata dei nostri sensi.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eC'è dunque molto da apprezzare nei processi pittorici di tutti e tre gli artisti e nelle possibilità che aprono. Packer, Roberts e Luxton creano insieme un mondo, ma un mondo complesso. Sta a noi elaborarne una lettura personale. Trattano del nostro rapporto con la natura? Del politico nel personale? Del futuro del pianeta? Forse. Mi viene in mente T. S. Eliot nei Quattro quartetti: «Ciò che poteva essere è un'astrazione \/ Che resta una possibilità perpetua \/ Solo in un mondo di speculazione.»\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePaul Carey-Kent\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAprile 2023\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0907\/7335\/6877\/files\/Screenshot_2025-08-01_at_19.10.46.png?v=1754071879\" alt=\"\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0907\/7335\/6877\/files\/Screenshot_2025-08-01_at_19.11.24.png?v=1754071899\" alt=\"\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0907\/7335\/6877\/files\/Screenshot_2025-08-01_at_19.10.01.png?v=1754071828\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e","products":[{"product_id":"heartland","title":"Heartland","description":"\u003cdiv class=\"subtitle\"\u003e\n\u003cspan class=\"title\" 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id=\"popup_region\"\u003e'Pre-Echo Milkscape' \u003c\/span\u003e\u003cspan class=\"comma\"\u003e, \u003c\/span\u003e\u003cspan class=\"year\"\u003e2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"detail_view_module detail_view_module_artwork_caption prose\"\u003e\n\u003cdiv class=\"medium\"\u003eOlio su tela\u003c\/div\u003e\n\u003cdiv class=\"dimensions\"\u003e112 x 130 cm\u003c\/div\u003e\n\u003cdiv class=\"signed_and_dated\"\u003eFirmato e datato sul retro\u003c\/div\u003e\n\u003cdiv class=\"signed_and_dated\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"signed_and_dated\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eGhostmantle, Electro Studios Project Space,St Leonards on Sea, 2018.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Joe Packer","offers":[{"title":"Default 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cm\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Joe Packer","offers":[{"title":"Default Title","offer_id":52703969083725,"sku":null,"price":0.01,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0907\/7335\/6877\/files\/alephcontemporary-joe-packer-incubated-dreamscape-2020.jpg?v=1762254844"},{"product_id":"incubated-dreamscape-copy","title":"Nashgumbrooke IV","description":"\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"detail_view_module 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class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\u003cstrong\u003e\u003cspan class=\"title\" id=\"popup_region\"\u003eGlimpslip Phantom\u003c\/span\u003e\u003cspan class=\"comma\"\u003e, \u003c\/span\u003e\u003cspan class=\"year\"\u003e2022\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"detail_view_module detail_view_module_artwork_caption prose\"\u003e\n\u003cdiv class=\"medium\"\u003eOlio su tela in cornice dell'artista\u003c\/div\u003e\n\u003cdiv class=\"dimensions\"\u003e144 x 129 cm\u003c\/div\u003e\n\u003cdiv class=\"signed_and_dated\"\u003eFirmato sul retro\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Joe Packer","offers":[{"title":"Default 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class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subtitle\"\u003e\u003cstrong\u003e\u003cspan class=\"title\" id=\"popup_region\"\u003eNashgumbrooke Phantoms II\u003c\/span\u003e\u003cspan class=\"comma\"\u003e, \u003c\/span\u003e\u003cspan class=\"year\"\u003e2023\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"detail_view_module detail_view_module_artwork_caption prose\"\u003e\n\u003cdiv class=\"medium\"\u003eOlio su tela\u003c\/div\u003e\n\u003cdiv class=\"dimensions\"\u003e140 x 90 cm\u003c\/div\u003e\n\u003cdiv class=\"signed_and_dated\"\u003eFirmato e datato sul 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